Allegorical and Symbolic Art

A series of prints featuring allegorical scenes depicting themes of art, memory, and power, with detailed engravings and rich historical context.

Amsterdam, Picart, Bernard, Allegorical representation with Hercules, verso lower left - stamped, Hercules leads the seven deadly sins on a chain to Truth and Justice. They sit on a throne and look up to Fame. She flies in the air and blows the trumpet., print, prent, prints, height 134 mm, width 82 mm, Noord-Nederlands, 1673-06-11 - 1733-05-08, print maker, printmaker, 1714 - 1714, first quarter 18th century, paper, papier, etching, engraving, engraving (printing process), intermediary draughtsman

Triumph of painting, Bernard Picart, 1725 print Allegorical title page with Peace (PAX), abundance (abundantia) and urbanity that wear painting to the personification of Rome. Ignorantia, envy (invidia) and superstition (Idolatria) try to stop them. On the right in the foreground Mnemosyne, the goddess of memory, who pulls texts from the hands of Father time. In the sky on a cloud of eternity with a laurel wreath in hand. In the background a face on Rome. In the margin a nine -based caption in French. Amsterdam paper etching / engraving triumphs (allegorical and symbolic). 'Pictura', symbolic representations, allegories and emblems ~ painting; 'Pittura' (Ripa). symbols, allegories of peace, 'Pax'; 'Pace' (Ripa). Abundance; 'Abondanza', 'Abondanza maritima' (Ripa). personification of a city, town-patron(ess). Father Time, man with wings and scythe. Mnemosyne. Eternity, 'Aeternitas'; 'Eternití','Eternití o Perpetuití' (Ripa) Rome

Title page for the Hollandsche Mercurius over the year 168 (5), 1686 - 1688 print Title page for the Hollandsche Mercury for the year 168 (5). From the clouds, Mercury looks at how violence and cruelty control the scene. Above a executioner with a chopped head, including fighting. print maker: Northern Netherlandspublisher: Haarlem paper etching specific aspects, allegorical aspects of Mercury; Mercury as patron

Allegorical performance with Telemachus; Title page for: S. Feestama, Telemachus, 1763. Telemachus looks forward to a winged figure, where an old man points him out. He is stopped by a woman, with a censer in the hands. In the background at a monument a lion with bundled arrows, poetry and a woman's figure indicating a book. Above blows fame on the trumpet, in her hands an eternity symbol. On the right a putto sticks itself with a dagger through the heart. In the foreground putti whom blowing bubbles at a goat.

. Allegorical title page with peace (Pax), abundance (abundantia) and urbanity that attract painting to the personification of Rome. Ignorance (Ignorantia), envy (invidia) and superstition (Idolatria) try to stop them. On the right in the foreground Memosyne, the goddess of memory, drawing texts from the hands of the father's time. In the air on a cloud eternity with a laurel wreath in hand. In the background a face on Rome. In the margin a nine-line caption in French.

Allegory of the power of the Republic of the Seven United Netherlands as Sembership, Bernard Picart (Workshop of), 1728 print Neptunus donates his trident, which symbolizes domination on the world's seas, to the personification of the Republic of the Seven United Netherlands. She holds a lance with freedom hats and is surrounded by the personifications of the East India Company (VOC) and the West India Company (WIC). On the right Mercury with his Caduceus points the world map that is rolled out by a putto. In the margin a four -line caption in French. Amsterdam paper etching / engraving Faith, 'Fides'; 'Fede', 'Fede catholica', 'Fede christiana', 'Fede christiana catholica' (Ripa) ~ one of the Three Theological Virtues. personifications of countries, nations, states, districts, etc.. (story of) Mercury (Hermes). (story of) Neptune (Poseidon). map of the world

Allegorie met Geschiedenis die de historie schrijft; Titelpagina voor: A.G. Luïscius, Het algemeen historisch, geographisch en genealogisch woordenboek, 1724-1737..Allegorical performance, revealed by father, with history surrounded by a crowd of characters that symbolize the different world parts. She is accompanied by genealogy, who shows her a family tree, chronology, with tablet in hand, geography, who signs the world map with her passer and Memosyne, the goddess of memory, who points to Diogenes. In the foreground the personnifications of the arts with their attributes. Left in the background Adam and Eva, Mohammed, Moses and Aaron. On the right in the background Monuments including the colossin of Rhodes, the tower of Babel, Golgota, Pyramids and the Temple of Solomon. In the clouds a meeting of the Olympic gods. In the margin a seven-line caption in Dutch.

Amsterdam, Picart, Bernard, Allegorical representation with Hercules, verso lower left - stamped, Hercules leads the seven deadly sins on a chain to Truth and Justice. They sit on a throne and look up to Fame. She flies in the air and blows the trumpet., print, prent, prints, height 134 mm, width 82 mm, Noord-Nederlands, 1673-06-11 - 1733-05-08, print maker, printmaker, 1714 - 1714, first quarter 18th century, paper, papier, etching, engraving, engraving (printing process), intermediary draughtsman

Allegorical performance with hermit, Sphinx and Saters; Title page for: Jacob Campo Weyerman, the transparent HEREMIET, 1764. A hermit is writing in a book on an increase with a portrait medallion of Pythagoras and listens to the personification of the rumor that indicates a part of the zodiac in the air. For the hermit is a sphinx on a pedestal on which truth is displayed. On the right shows a satter on the scene behind him; A putto drills a hole through the globe that reveals through an old Sater. Links in the background are two (possible antique) images. On the right in the background a donkey and an owl on a pedestal.

Minerva Combiences between the arts; Title page for: Joachim von Sandrart, L'Academia Todesca della Architectura Scultura E Pittura Oder Teutsche Academie Der Edlen Bau-, Bild- und Mahlerey-Künste. Part 2 .. Minerva is on her throne in the OLYMP. To the left of her is the poetry with a swan, the right comes Mercury with palm branches to Minerva. At the stairs of Minerva's throne, painting, sculpture and architecture are working.

Orpheus enchants the animals with his music, Milsan, After Requirements, 1760 - 1899 print paper etching Orpheus playing the lyre: trees and rocks move, beasts and birds are enchanted

. History writes in her book about the true history of the French monarchy. She trambles the allegorical figures of the beautiful things and satire, which lie on her feet. In addition to her state truth. On the other side of the table, the female personnifications of medal art, chronology and genealogy. In the air crown Providence) The portrait of Louis XV that is worn by fame. Amor holds the portrait of the infant Marianne Victoria from Bourbon, the then fiancé of the king, in the hands. In the foreground a putto that signs the map of France. The company is located in the memory temple that is decorated with the statues of French princes.

Allegory of Good and Evil Nature (Beneficentia, or The Mirror ofVirtues). Engraver: Jan Saenredam, Dutch, 1565-1607 After: Cornelis Ketel, Dutch, 1548-1616

. A cartouche with ornaments. The personification of virtue reflects an in love couple to the wedding boat, lying on the shore of a river. Cupid binds the couple with a rope to virtence. The boat is prepared by many putti. In the sky Juno, the Roman goddess of the marriage.

Wenceslaus Hollar after Hans Holbein the Younger after Abraham van Diepenbeeck, Bishop, 1651 Bishop

Allegory of the appointment of Marcantonio Franciotti as bishop of Lucca, Pietro Testa, c. 1637 - c. 1638 print Allegorical representation in honor of the appointment of Cardinal Marcantonio Franciotti as bishop of Lucca. A stone monument surrounded by allegorical figures, gods and putti. On the right a griffin and on the left a leopard. On the right in the background is the city of Lucca. Italy paper etching griffin (lion/eagle); 'Griffo' (Ripa). beasts of prey, predatory animals: panther. cupids: 'amores', 'amoretti', 'putti'. the Three Theological Virtues. (story of) Minerva (Pallas, Athena) Lucca

Allegory with personifications of Rome and Fortuna and the God Hercules; Title page for: L. Annaeus Florus, Epitome Rerum Romanarum, Leiden 1744..

Allegorical grave monument for Hendrik Danielsz. Hooft, 1794, Daniël Vulaard (I), 1795 print Allegorical grave monument for Hendrik Danielsz. Hooft, former mayor of Amsterdam, died on August 31, 1794. Father Time pulls away curtain to reveal the monument. For the monument, the grieving city -wit of Amsterdam, religion and immortality. With six -line verse. print maker: Northern Netherlandspublisher: Amsterdam paper etching / engraving grave, tomb. allegorical representations of the effects of time. personification of a city, town-patron(ess). allegorical representations ~ religion; 'Religione', 'Religione de SS. Mauritio e Lazaro', 'Religione vera christiana' (Ripa). Immortality, Imperishableness; 'Immortalità' (Ripa) (+ abstract concept represented by female figure) Amsterdam

Allegory of Fortuna and Science, Dancker Danckerts, Frederik de Wit, 1650 - 1666.

Mieris, Frans van, Noord-Nederland, Wandelaar, Jan, Landscape with an old woman at a monument, verso bottom left - stamped, An old woman in a landscape sits at a monument on which a couple in love, lying naked in the forest, with two children is depicted, and above them a sundial. In the foreground three men are working, tools are scattered around them. In the background a field with dead bodies. Numbered bottom center: V., print, book illustration, prints, height 181 mm, width 142 mm, Noord-Nederlands, 1690-04-14 - 1759-03-26, print maker, printmaker, 1725 - 1725, paper, papier, etching, etchings, engraving, engraving (printing process), intermediary draughtsman

Mendicsman from Haarlem; Deo et patriae / twelfth part. The urban army of Haarlem is under the arms of Haarlem with a staff with banderol in her hands. On the Banderol state: Salus Publica, general well-being. She lets her hand rest on a pedestal with the words: Deo et patriae. For the throne putti with papers and books, passer and measuring status and a globe. Allegorical performance in which the city of Haarlem is proposed as a promoter of science and the arts.

View of Utrecht in Allegorical picture frame; Title page for: E. de Vries, Dissertatio Juridica, the Jure Naturali AC Gentium, SEU Duobus Prioribus Juris Fontibus, 1745. View of Utrecht with the Dom tower on the right. The allegoric picture frame is awarded by the all-viewing eye of God. At the top left of a cloud is justice and the right is the history with a book and a writing spring. On the right, the Utrechtse Menderman is standing with a lance and a certificate with Utrecht seal. In addition to her a putto with the coat of arms of Utrecht University. On the left is an allegorical figure with a book on her shot at a burning altar column, perhaps faith or temperance. Title page for a dissertation in the rights.

Personification of generosity (liberalitas), Matthias van Sommer, 1649 print Rotterdam paper engraving Generosity, Liberality; 'Generosití', 'Liberalití' (Ripa). 'Cornucopia', Horn of Plenty

Bliżej Kultury Tardieu, Nicolas Henri (1674 1749), Corneille, Michel II (1642 1708)

. Allegorical performance in which history gives painting a writing spring to draw up the histories of Dutch princes. She points to a carpet at which the Dutch Virgin, accompanied by freedom, faith, Thetis, Mars and Mercury and along the edges medallions in which the portraits of Dutch princes. On the left in the background a battle. With a six-line caption in French.

Poetry on a pedestal in an antique temple, Jan Wandelaar, After Frans van Mieris, 1725 print Diana, as a natural goddess, kneels for poetry in an antique temple, for a pedestal on which the title in Latin. Poetry holds a portrait bust in her hand, against her leans the caduceus, the symbol of reason. Next to the pedestal are Minerva (wisdom) and Hercules (Power). Play two putti in the foreground with a medallion on which the portrait of Titus Lucretius Carus. Print Maker: Northern Netherlands Publisher: Leiden paper etching / engraving symbolic representations, allegories and emblems ~ poetry; 'Poesia' (Ripa). (story of) Hercules (Heracles). (story of) Minerva (Pallas, Athena). caduceus (staff with two snakes, attribute of Mercury). (story of) Diana (Artemis)

Allegorical performance with Telemachus and Minerva, Jacob Folkema, After Bernard Picart, 1733 print Telemachus is accompanied by Minerva who points him to the countless allegorical figures that surround them. In the margin there is a five -line text in French in which the performance is explained in more detail. Illustration made with a story from "Adventures of Telemachus", written by François de Fénélon. paper etching (story of) Telemachus. (story of) Minerva (Pallas, Athena)

Allegory of the history of the French monarchy, Bernard Picart, 1724 print History writes in her book about the true history of the French monarchy. She tramples the allegorical figures of Mooipraterij and Satire, who are at her feet. There is truth next to her. On the other side of the table the female personifications of medal, chronology and genealogy. In the air, Providence (Providentia) croats the portrait of Louis XV that is supported by Faam. Amor holds the portrait of the infante Marianne Victoria van Bourbon, the then fiancé of the king, in his hands. In the foreground a putto that draws the map of France. The company is located in the temple of memory that is decorated with the statues of French princes. In the margin the title and a six -line caption in French. Amsterdam paper etching / engraving 'Historia'; 'Historia' (Ripa). Truth; 'Verití' (Ripa). Flattery; 'Adulatione' (Ripa). chronology. Fame; 'Fama', 'Fama buona', 'Fama chiara' (Ripa). Forethought, Deliberation; 'Previ

Anhalt-Dessau, Johann Georg Prince.

Haarlem, Casteleyn, Abraham, Northern Netherlands, Hooghe, Romeyn de, Title page for the Hollandsche Mercurius about the year 168(5), Title page for the Hollandsche Mercurius about the year 168(5). From the clouds, Mercury watches as violence and cruelty dominate the scene. Above an executioner with a severed head, including fights., print, engraving, title page, prints, engravings, Frederik Muller Historieplaten, height 178 mm, width 127 mm, 1645-09-10 - 1708-06-15, print maker, printmaker, 1686 - 1688, fourth quarter 17th century, paper, etching, etchings, Publication (Event), Publication, 1628 - 1681-01, publisher

Monument by Willem van Focquenbroch; Title page for: Willem Focquenbroch, all the works (...) First part, 1766.A Woman, putti and children with goatspots Bring sacrifes to a monument with a Portrait Medallion of the Dutch Poet Willem of Focquenbroch. There are two saters on the monument.

Allegory on French monarchy, Jan Caspar Philips, 1756 print The personification of the French monarchy trunks with scepter and above her the weapon of France. With her, there are personifications of parliament and justice with scales. On the left is a putto with an order chain of the Order of the Holy Spirit. In the foreground are weapons and Minerva is pointing to Putti with a map of France. In the background a glimpse to the Pont Neuf in Paris with the image of rider image of Henry IV. A six -line Dutch text in the lower margin. paper engraving / etching monarchy; 'Monarchia mondana' (Ripa). Lower House, Parliament, Chamber. Justitia (justice) as Roman personification France. Paris. New Bridge

Johann V, King of Portugal.

H. Joris; S. Georgius. Joris drops slightly through his knees at the foot of a statue of Apollo. Behind it flies the fire-breathing dragon. The king focuses half of his throne that is placed under a canopy. People watch all around. In the foreground two frightened sighting boys with a dog. In the air a putto and an angel who holds Joris a laurel wreath above the head.

In a inn, the Drunken Cardinal Innocenzo Ciocchi del Monte, the adoptionive of Pope Julius III, with a gun a man. There is another victim on the ground.

. A seated allegorical woman figure, representing France, with a putto behind her is accompanied by the personalized historiography and father time. Above them fame blowing on a trumpet.

Anonymous drawing depicting the martyrdom of Saint Katharina of Alexandria, executed in chalk with white highlights on gray paper, second half of the 18th century.

Landscape with an old woman at a monument, Jan Wandelaar, After Frans van Mieris, 1725 print An old woman in a landscape is at a monument on which a pair of in love, which is naked in the forest, is depicted with two children, and above that a sundial. In the foreground, three men are working, tools are distributed around them. In the background a field with dead bodies. Numbered in the middle: V. North Netherlands paper etching / engraving (lovers) caressing each other. sundial. finding a dead person. tools, aids, implements ~ crafts and industries: hammer

Satirian poetry bears the portrait of the French writer Nicolas Boileau to the Parnassus. On the mountain waiting Apollo and the muses, which will lar up the portrait of the writer. In the background Pegasus as a symbol of the poet genius. In the margin a three-legged caption in French.

Triumphal tour of Willem van Oranje, plate B, 1626 print Symbolic representation of the virtues of Prince Willem van Oranje. Spring car in which the prince sits drives under a pound of foliage, pulled by 3 elephants. On the elephant the personification hope; In addition to her other personifications of virtues. With explanation in Latin above the figures, Dutch translation at the bottom. Haarlem paper engraving symbolic triumphs of individual persons. Hope, 'Spes'; 'Speranza divina e certa' (Ripa) ~ one of the Three Theological Virtues. trunked animals: elephant

Portrait of a King Frederick IV of Denmark, Frederick IV, King of Denmark, leaning against his throne. A lion at his feet. Upstairs his wife, Queen Louise of Mecklenburg, is carried to heaven by angels and crowned with a laurel wreath. Eight coats of arms of Danish cities on either side of the show. The print has a Danish signature in rhyme., Pieter van Gunst (mentioned on object), Amsterdam, 1659 - c. 1731, paper, engraving, h 482 mm × w 297 mm

Annunciation of Maria; Bourdon, Sébastien (1616-1671), Boissevin, Louis (Ca 1610-1685); after 1637 (1650-00-00-1650-00-00);Dembiński, Stefan (1887-1972), Dembiński, Stefan (1887-1972)-collection, Maria (Mother of Jesus Christ), New Testament (Bible), Annunciation of Maria (iconogr.), Angels (iconogr.), Dar (provenance) , religious scenes

Allegory on the jubilee of Dutch freedom, 1648-1748. The personification of Dutch freedom, depicted with lance with freedom hat, the Dutch lion and a banner of Prince Willem IV, receives the personification of the century that has descended from the clouds. Above the throne are busts of the Stadhouders Willem I, Maurits and Frederik Hendrik. At the feet of the freedom, the enemies defeated during the rebellion: the king, the Catholic Church and the Duke of Alva.

Allegory of geometry, François van Bleyswijck, After Hieronymus van der Me, 1782 print A map of the world contains geometry, with drawing and measuring instruments in the hands and a map. Rear right, a man draws a card on the basis of the world map. In the foreground is a woman with debris from classical antiquity. paper engraving / etching quadrivium (personification of Arithmetica, Geometria, Astronomia, and Musica). map of the world

Etching by Battista Agnolo del Moro depicting the martyrdom of St. Justina, produced between 1515 and 1573.

Execution of Ariane and Melinte who is recognized by his father, Abraham Bosse, After Claude Vignon, 1639 print paper etching / engraving on the scaffold or place of execution

Allegory on the architecture, Joseph Mulder, After Dirck Bosboom, 1729 print Personifications of the architecture are gathered on an increase. On the left a standing woman with a column in her arm, in the middle a sitting woman with a passer, who shows the drawing of a building, and on the right geometry with a ruler and an optical measuring instrument. Before right, caution (or also wisdom), with mirror and snake, is writing in her book. Amor holds the ink pot. In the background buildings. Amsterdam paper etching / engraving 'Architectura', symbolic representations, allegories and emblems ~ architecture; 'Architettura' (Ripa). 'Geometria' (~ quadrivium); 'Geometria' (Ripa). Prudence, 'Prudentia'; 'Prudenza' (Ripa) ~ one of the Four Cardinal Virtues. 'Perspective' (alleg.); 'Prospetiva' (Ripa)

Alexander The Great draws Babylon (right page). .

Allegory in Heavenly Jerusalem, Abraham Delfos, 1758 print Allegory in the heavenly Jerusalem in Cartouche. Female personification with incense vessel sitting in the picture of the great city of God, held by small angels. In the background Silhouette from Stad Jerusalem. Frame with animals such as a lion, snake, squirrel and birds that are on ornaments derived from plant forms Leiden paper etching the New Jerusalem. the all-seeing eye, triangle with eye ~ symbol of God the Father

Allegorical title print for Vondels Palamedes, 1625, Salomon Savery, 1623 - 1625 print Allegorical title print for Vondel's Treurspel Palamedes, 1625. Standing old man resembling Johan van Oldenbarnevelt with a privilege in hand, surrounded by all kinds of wild animals. Right themis (goddess of justice) that holds a laurel wreath above the man's head. Under the show a cartouche with verse of 4 lines in Dutch. paper engraving title-page. Themis

Allegory on the human nature; Naturae Sequitur Semina Quisque Suae. Beneficents, beneficiality personification, is on a chair and is stabbed from behind by evil in the form of a naked man. A knee of the man leans on a skull and a snake, which bites in his own tail as a symbol of eternity, hangs around his right leg. On the right is a coffin with the inscription: Mors Oblivio. With her left hand, Beneficentia gives the sun on the naked man. The moon gives them to the woman for her. Between them is a tied lion, licking a dog. A mouse gnaws at his rope. A few obelisks in the background. The show has an ornamental picture frame. On the left, the personification of fertility is a child, which is awakened by the breath of Apollo as a symbol of good to life. On the right a child gets birth that his breath of evil receives. Above-top a woman gives a child's breast. At the top right a woman feeds a child with a spoon. Under the thermatting a eight-line, Latin text and a cartouche with a five-li

Allegorische voorstelling met gekroonde man, putti en vrouw met sterrenkroon; De spectator; Titelpagina voor: Joseph Addison en Richard Steele, De spectator, of verrezene Socrates, s.a..A crowned man with feather and writing tablet in hand, tramps figures under whom a woman with peacock (possibly proud), midas with donkey ears (greed) and a man with a money pouch. On the crown of the man a flame and the all-viewing eye. With him, a putto with sun points to the sky where a woman with palm branch and star witty is sitting on clouds.

Triumph of Divine Love (Judge Plate), Adriaen Lommelin, After Peter Paul Rubens, 1626 - 1677 print Divine love (Caritas) is on a two -wheeled cart. She holds a child against the chest. Next to her are two more children looking for protection. At the front of the car is a pelican that feeds her boy with her own blood. A group of angels whose front dance holds a torch in a round dance flying above the head of divine love. Two angels walk behind the car, one keeps a burning heart in the air, the other threatens with a torch two winding snakes, symbol of hatred. Antwerp paper engraving Charity, 'Caritas'; 'Carità' (Ripa) ~ one of the Three Theological Virtues - MM - Virtues triumphant. symbols of Christ ~ animals. angels. heart symbolism

. A woman with a laurel wreath is sitting on a stone and reads a book. In addition to her a putto. Behind her a stone base with an oval list in which an emblem: a representation of a ruin. The emblem bears like motto: "Mors Etiam Saxis Nominibusque Venit". On the pedestal a bubble blowing putto and the threaded time.

Illustration to Jean Desmarets' "L'Ariane". Dated: published 1639. Medium: etching and engraving. Museum: National Gallery of Art, Washington DC. Author: Abraham Bosse after Claude Vignon.

Allegory of fertile Friesland Title page for: B. Schotanus, Representation of the glory of Friesland, 1718, Astronomy is central on a pedestal, with a map of Friesland on its thigh. Astronomy holds a globe that she measures with a compass, next to her foot is a sextant. To her left and right are two river gods. In the background to the right is the city virgin of Leeuwarden, who holds up the freedom hat on a trumpet, rests her hand on the crowned city coat of arms of Leeuwarden. To the left of the city maiden is Ceres, goddess of agriculture. The surrounding figures represent personifications of Fertility and river gods, on the left is the city coat of arms of Friesland. In the background a landscape with characteristic buildings from the province such as the Sjaerdemaslot in Franeker and the Red Cliff in Gaasterland that is depicted as a smoking volcano, personifications of countries, nations, states, districts, etc. (with NAME), 'Astronomia', 'Cosmografia', 'Cosmografia' (Ripa), rive

Woman unmasked by angel; Title Print for: The Mask Vande Vlocken, Antwerp; The mask of the world.

. The personification of truth, a naked woman with a flaming sword in hand, hold a number of theater players with masks in hand a mirror. In the air two putti with a banderole on which a two-way quote from Horaceius in Latin. In the margin the title in French.

Conversation between Aleksandr Mensjikov and Concino Concini; Den Knees Menzikof, and Den Marshal d'Ancre. Concino Concino, Markies from Ancre, stands alongside Aleksandr Mensjikov and rejects him on the falling man and the woman balancing on a globe in the background. At the top listed: August / 1730.

Offer from forging work to Minerva; Title page for: Jean Tijou, Nouueau Liure de DESSEINS (...) = A New Booke or Drawings (...)., 1693. From a cloud, Minerva admires a forged iron fence, which tones Vulcanius and Mercury hair. Time looks. In the background a smith in a cave. The women to the left of Minerva present the fine arts. Under this show a second image, on which men are busy viewing or rearranging ornaments. There is a drapery on which the title, author and content of the book is displayed in French and English.

Allegorical representation with Grenspaal van het Watergraafsmeer, Johann Wilhelm Windter, After Adolf van der Laan, 1725 print In the foreground there are two water nymphs such as personifications of the Amstel and the new deep. On the right under a canopy, Apollo is in his hand with the zodiac. A woman with wings at the head shows him a role with designs. Behind her is Ceres with a corn sheaf. In the middle an obelisk with the book title and a swan as a symbol for the Diemermeer. To the left are Diana and a farmer. In the background a view of the Amstel and the polder area Diemer or Watergraafsmeer. paper engraving / etching polder, reclaimed land. cupids: 'amores', 'amoretti', 'putti'. boundary-post, boundary-stone. river personified, 'Fiumi' (Ripa). water-birds: swan. 'Cornucopia', Horn of Plenty Diemermeerpolder. Watergraafsmeer

Eleonora Magdalena Theresia, Princess of the Palatinate.

Riders with swords and other weapons for architectural frame of empty title field, Schelte Adamsz. Bolswert, After Unknown, 1628 print Riders with swords and other weapons stand for architectural frame of empty title field. Under the air arch are goddess with armor and in the arch field, Saint Michaël is shown in fight with the devil. Two men, including Hercules, stand in front of the columns. Brussels paper. chalk. ink engraving / pen riding a horse, ass, or mule; rider, horseman. (story of) Minerva (Pallas, Athena). (story of) Hercules (Heracles). weapons. the Archangel Michael fighting the dragon (devil, Satan)

. Saint Hieronymus has been knocked down into the wilderness with a stone in his hands with a crucifix. On the right in the background a lion. The print is part of a 53-part series of prints to paintings by Titian and Veronese.

Apollo with muses and other gods Title page for: Dichtkunstige werken, Amsterdam 1657 Gedichten vande Heere P.C. Hooft (title on object), print maker: Cornelis van Dalen (I), (mentioned on object), Jan van Duisberg, (mentioned on object), 1657, paper, engraving, h 150 mm × w 94 mm

Apollo with muses and other gods; Title page for: Close-style works, Amsterdam 1657; Poems of the Lord P.C. Hooft ..

The arms of Suriname, Bernard Picart, 1720, Design for a print., draughtsman: Bernard Picart, 1720, paper, pen, brush, h 101 mm × w 128 mm

Huwelijksaanzoek.A young man knelt down for a woman, a hand on his chest. The woman lies on a mid-high sofa in a lush decorated room. In the background an older woman with a headscarf.

Allegorical performance on two royal marriages. Allegorical show on the marriages of Willem I Frederik, the later king of the Netherlands with Wilhelmina van Prussen, depicted in the medallions at the top left, and on those of Frederica Louisa Wilhelmina, Princess of Orange-Nassau with Karel George August Erfprins van Brunswijk-Wolfenbüttel, from Who the portraits at the top right are depicted. An allegorical women's figure on a base gets two hearts around the neck bound of a woman's figure with a beam of breast with a putto with two burning torches next to her. On the left a women's figure with a flame on the head and with a cornucopia, which crowns her. Above them an angel with a bazuin and a laurel wreath. On the left a women's figure with the book with the seven stamps and a shield with an image of the Holy Spirit in the form of a pigeon. On her head a rooster, as a sign of vigilance. In the background and temple of honor and virtue.

Allegorical figures at a grave monument, Jacob Folkema, 1723 print Allegorical figures in a burial monument decorated with skulls. Before the monument is the faith with a cross in the arms. A second veiled woman has a scepter above which the all -seeing eye. Mercury as a god of trade is at the Wapen van Amsterdam and looks at a grieving veiled woman. Venus sits on a shell in the air. paper etching grave-building, monumental tomb. Faith, 'Fides'; 'Fede', 'Fede catholica', 'Fede christiana', 'Fede christiana catholica' (Ripa) ~ one of the Three Theological Virtues. (story of) Mercury (Hermes). (story of) Venus (Aphrodite)

Print at the top right labeled: F: 166

Allegory on Rome. On a globe, Roma is flanked with helmet and fasces by a male and female soldier. An angel crown hair with a laurel wreath. A woman on the right offers her a crown. On the left are putti at a portrait medallion of Titus Livius. There are prisoners for Roma. In the foreground the Wolvin is with Romulus and Remus and is a river god on the right as a person's personification.

Twist tussen Achilles en Agamemnon, Bernard Picart (workshop of), after Bernard Picart, 1710 print Achilles accuses King Agamemnon of greed. The king then claims Briseïs, a slaved woman who loved Achilles. The wise nestor mediates in the conflict. In the background, Apollo has the plague descended in the Greek camp. In the margin a caption in French. Amsterdam paper etching / engraving the quarrel about Briseis (Iliad I). Apollo sends a pestilence into the Greek camp. slavery; serfs and the enslaved. slaveholder ~ enslaved person

Allegorical title page with the portrait of Leon Battista Alberti, Bernard Picart, 1726 print Minerva points out the personifications of architecture and painting to the portrait medallion of Leon Battista Alberti, which is held by a crowned woman. In the air a putto with a banderole on which a inscription in Latin. Amsterdam paper etching / engraving portrait, self-portrait of architect. 'Architectura', symbolic representations, allegories and emblems ~ architecture; 'Architettura' (Ripa). 'Pictura', symbolic representations, allegories and emblems ~ painting; 'Pittura' (Ripa). specific aspects, allegorical aspects of Minerva; Minerva as patroness

Francesco Fontebasso, The Sacrifice of Iphigenia, 1744 The Sacrifice of Iphigenia

Laster Van Apelles, Cornelis Cort, after Federico Zuccaro, 1602 print On the left on a throne is a king whose stupidity is shown by his donkey ears. His advisers are defamation, deception, envy and anger. Behind the throne is Minerva to stop him. On the right an artist who would be convicted by the king under false pretenses. He is accompanied by the naked truth and the God Mercury. paper engraving Calumny of Apelles: bad judge with ass's ears on throne, with Deceit, Envy, Ignorance, Suspicion and Treachery, confronted with innocent accused; Remorse and Truth present

Waggoner. Dated: 1651. Medium: etching with border "Democritus and Heraclitus" (Pennington 233A). Museum: National Gallery of Art, Washington DC. Author: Wenceslaus Hollar after Hans Holbein the Younger after Abraham van Diepenbeeck.

Callot, Jacques, Nancy, The little Passion, Christ before Caiaphas, verso lower left - stamped, Christ is led before a man on a platform by armed men (Caiaphas). This print is part of the print series 'The Little Passion', consisting of 12 scenes from the Passion., print, prints, height 76 mm, width 56 mm, Frans, 1592-08-21 - 1635-03-24, print maker, printmaker, 1624 - 1625, first quarter 17th century, second quarter 17th century, paper, etching, etchings, Work conception, after own design by

Magalotti, Lorenzo.

Minerva visits women who spin and weaving. Minerva visits women who woo to spin and fabric. She holds a weaving pattern in hand and points to women looking at the fabric. Above the loom a spider web, as reference to Arachne that has changed through her in a spider. In the background ships that supply the raw materials. The performance is caught in an exuberantly decorated cartouche that is crowned by father's time, the city of Amsterdam and Mercury, the God of trade. Probably a trade label for a weaving mill in Amsterdam.

Amsterdam, Picart, Bernard, Title page for: Jean de La Bruyère, Les caracteres de Theophraste, 1731, Allegorical representation with Hercules trampling Cupid, verso lower left - stamped, Hercules tramples Cupid who wanted to shoot one of his arrows. A naked woman with a mural crown tries to seduce Hercules and pulls his cloth aside. Minerva and Temperance look on. On the left figures who personify various vices. In the margin a seven-line poem in French., print, engraving, title page, prints, engravings, The personification of Temperance sits with her horse's bridle next to Minerva on a cloud. Together they try to call the figures on the ground to order. To the left of the cloud stands a man who wants to attack Temperance and Minerva with a sword. In the foreground Hercules stands with a woman (Pride): a naked woman with a mural crown and with a peacock in her arms. She tries to seduce him. Hercules kicks Amor to the ground with his bow and arrow. In the foreground lies a deck of cards

. Allegorical performance with various scenes and metamorphoses from the book of Ovid. Among other things in the foreground Salmacis and Hermaphroditus, Narcissus that falls in love with his own mirror image and Leda seduced by Jupiter in the form of a swan. In the middle vertically as an old woman and Pomona, Apollo and Daphne, Pan and Syrinx. In the background Pluto and Proserpina, Perseus and the monster, the fall of Icarus. In the air on a cloud of Venus in her car, continued by a swan. At the top of a medallion under a garland The portrait of the writer Publius Ovidius Naso. Under the show an empty cartouche.

Allegorical show with father time and history; Vroonen start in the middle and eynde.father Time with Hourglass Points The Personification of History With Book on a Fortified City in the distance.

Picart, Bernard, Amsterdam, Allegorical representation on the occasion of the marriage of Abraham Barnaart and Engeltje van Hoven, verso - stamped, Allegorical representation on the occasion of the marriage of Abraham Barnaart and Engeltje van Hoven on 28 March 1724 in Haarlem. The god of marriage Hymen stands before his temple and receives the couple and their entourage of nymphs, fauns and maenads. Above in the air floats the god of trade Mercury. On the right sits Minerva, who points at the couple. Putti show her fabrics, which symbolises the couple's trade in fabrics. Under the show the motto: Oppugnent Alii Hic Solus De Corde Triumphat., print, wedding print, prints, height 252 mm, width 202 mm, Northern Netherlands, 1673-06-11 - 1733-05-08, print maker, 1724 - 1724, first quarter 18th century, paper, etching, engraving, engraving (printing process), Work conception, Northern Dutch

Allegorical performance with hope, woman with winch and belief; Title page for: Johannes Euseubius Foot, Stichtellyke poems and songs, 1754.Hope With Anchor is Sitting on a Stone With Book Title Opposite An Image of Mount Golgota Hero by Putti. The Image Is A Woman With Winch And Wings On The Head. Next to re position a putto with harp and belief. In The Background Christ 'Ascension.

Allegory on the inauguration of Willem IV in Veere en Vlissingen; For memory of the inauding (...) Willem Karel Henrik Friso (...). Allegory on the Inauguration of Stadholder Willem IV in Veere and Vlissingen on 1 and 5 June 1751. Triumphoort with Allegorical Figures and the Medal Attributed to This Occasion .

Display of disarming Mars, 1648; Disarm Mars; Allegories on the Peace of Munster; The six shows that opened on De Schouburg (...) are den 23 Iunij 1648. Display of disarming Mars. Part of the impressions raised on June 23, 1648 at the Schouwburg in Amsterdam following the conclusion of the Munster peace. The third show shows how Mars is disarmed by peace. A Dutch frost looks in the background. In the caption a verse of 4 lines in Dutch.

Teachiness on a throne; Title page for: A. Spinniker, continuation of teaching symbols, 1758. At an increase, an allegorical female figure with a spigel is on her chest: the personification of the student. In addition to her a bird, as the wisest of all animals and her foot rests on wild boar, the unleading of the animals. Behind her are painting personifications, with palette, and poetry, with roll of paper. In the foreground two children looking at a picture.

The holy apologist Theophilus of Antioch holding a rolled up paper. At his feet an angel is studying a book. Theophilus stands on a pedestal where his study of Christian writings is depicted on the front. Print marked top center: II. Part. Pag: 214., St. Theophilus of Antioch, apologist Theophilus, Bishop of Antioch Became a Christian Through Attentive Discussion , print maker: Jan Luyken, (mentioned on object), print maker: Zacharias Chatelain (II), (mentioned on object), intermediary draughtsman: Jan Goeree, (mentioned on object), Amsterdam, 1698, paper, etching, engraving, h 277 mm × w 174 mm

Coat of arms of the Geelvinck family surrounded by allegorical figures. The crowned weapon of the Geelvinck family, surrounded by allegorical figures. At the top left of the weapon, the raised personification of poetry. She presents melpomene, muse from the mourning game, a roll of paper. Above Melpomenene, Thalia, Muze of Blijspel, the throne poetry is also a rolled paper. To the right of the family crest, the blindfolded frenzy extracts with a burning torch and the envyed with snakes in her hands. In the foreground a young and old Sater hold a piece of paper together.

Title page: Alcoues a la romaine; Alcoues a la romaine. Alcove with Mercury and Herse surrounded by Putti. At the bottom are four lines of text. From series of 6 sheets.

TITELBLAD: Fonteines and CUUTES, Jean Lepautre, c. 1657 - C. 1661 print Fountain with basin seen from the front, placed in an outdoor space and surrounded by figures. print maker: France (possibly)after own design by: France (possibly)publisher: Paris paper etching

Allegorical show with the Stedensmaag van Amsterdam and the IJ, 1671 print Allegorical show with the left -handed citizen of Amsterdam and leaning on her leg a river god as personification of the IJ. Behind them Mercury with winged hat and staff. In the background a throne with columns in the form of personifications of the four continents. On the top of the throne the title and the coat of arms of Amsterdam. At the top right in the air the sun god Apollo. paper etching personification of a city, town-patron(ess). river personified, 'Fiumi' (Ripa). (story of) Mercury (Hermes) Ij. Amsterdam

Allegorical performance on the occasion of the marriage of Abraham Bruyn and Debora van Vollenhove, Bernard Picart, 1718 print Allegory at the marriage of Abraham Bruyn and Debora van Vollenhove in 1718. The couple is led by Putti to the wedding god Hymen. Above them, the personification of the month of September floats with a key in one hand and a horn of abundance filled with children in the other hand. The show is caught in a list of the coat of arms of the spouses. In the middle above the motto: non haec sine numine divum. Under this performance, ships refer to their trade and put on the beach, putti arrows. paper etching / engraving September; 'Settembre' (Ripa) (+ with signs or personifications of the planets together with zodiacal signs). (story of) Hymen(aeus). betrothal and marriage

Les Beignets n.d. After Jean Honoré Fragonard French. Les Beignets 369326

Apollo with muses and other gods, Cornelis van Dalen, 1668 print paper engraving Apollo and the Muses, Apollo Musagetes. (story of) Diana (Artemis)

Throne woman with the coat of arms of Leiden, Simon Fokke, 1722 - 1784 print A throwning woman holds the coat of arms of the city of Leiden in her hand and is shown by rays that come from the all -seeing eye. She is surrounded by personifications of freedom and religion. On the left before the throne, Father is time with the eternity symbol in his hands; Snakes that bite into their own tail. In the background, chained figures with a club are driven to the right. Amsterdam paper etching personification of a city, town-patron(ess). cities represented allegorically or symbolically. Freedom, Liberty; 'Libertà' (Ripa). Father Time, man with wings and scythe Leiden

Jacques Callot, The Circumcision, c 1631 The Circumcision

Justice teaches the laws of Utrecht, Jan Goeree, 1709 print The German emperor shows the personification justice a sign entitled of the book. In addition to the board, the Stadzensmandag Utrecht and the personification caution. In the background the Dom van Utrecht. paper engraving / etching emperor. Justice, 'Justitia'; 'Giustitia divina' (Ripa) ~ one of the Four Cardinal Virtues. Prudence, 'Prudentia'; 'Prudenza' (Ripa) ~ one of the Four Cardinal Virtues. personifications of countries, nations, states, districts, etc. Dom Van Utrecht

Fountain turned to the left, Jean Lepaut, c. 1657 - c. 1661 print The fountain is decorated with a Fries of putti playing with a sea monster, there are figures next to it. print maker: France (possibly)after own design by: France (possibly)publisher: Paris paper etching

Antwerp, Spanoghe, Cornelis Marten, Harrewijn, Jacobus, Title page for: Jean Baptiste Christyn, Les Délices des Pais-Bas, 1786, Allegory of the Netherlands, verso - stamped, In the middle is a personification of the Netherlands with a sword and a helmet with seventeen arrows (the Seventeen Provinces) on her head. Behind her lies the Dutch lion. To her right sits a woman with a horn of plenty. To her left are three personifications. At the bottom are personifications of the rivers Scheldt, Maas and Rhine. In the background on the right Mercury flies., print, title page, prints, engraving, height 153 mm, width 90 mm, Southern Netherlands, 1660 - 1740, print maker, printmaker, 1786 - 1786, paper, papier, etching, engraving (printing process), Publication (Event), Publication, 1758 - 1829, publisher

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