Allegorical Prints of Dutch Heritage

Allegorical representations celebrating Dutch freedom and arts, rich in symbolism, blending historical figures with ornate decorations and intelligent motifs.

Wandelaar, Jan, Noord-Nederland, Vignette with a couple in a landscape, verso lower right - stamped, A couple in love walks towards a woman playing a lyre. Cupid sits at her feet. Juno is in the air on a cloud, who acts as a protector who watches over the marriage. The representation is set in an ornamental frame with a quotation from the poet Gaius Valerius Catullus: Boni Conjuges Bene Vivete. On the edge sits a female figure holding the coats of arms of the spouses., print, engraving, wedding print, prints, verso lower left - stamped, height 141 mm, width 154 mm, Noord-Nederlands, 1690-04-14 - 1759-03-26, print maker, printmaker, 1702 - 1759, paper, papier, etching, engraving (printing process), Work conception, after own design by

Personification of painting, Pietro Testa, c. 1637 - c. 1638 print In the middle a personification of painting. In addition to her a sculpture from Artemis van Ephesus. On the right personifications of fame and time. In the middle in the background the three graces and a palm tree. Left children and young people. Assignment in the end margin. print maker: Italyafter own design by: Italypublisher: RomeItalyItaly paper etching 'Pictura', symbolic representations, allegories and emblems ~ painting; 'Pittura' (Ripa). draughtsman at work. Fame; 'Fama', 'Fama buona', 'Fama chiara' (Ripa). Father Time, man with wings and scythe. trees: palm-tree

Print, Design for Fountain with Trophy of Musical Instruments; Designed by François de Cuvilliés the Elder (Belgian, active Germany, 1695 - 1768); Engraved by Georg Siegmond Roesch; Published by Nicolas Jean Baptiste de Poilly (France, 1712 - ca. 1758); France; etching and engraving on off-white laid paper; Platemark: 35.2 x 23.3 cm (13 7/8 x 9 3/16 in.) Sheet: 44 x 28.6 cm (17 5/16 x 11 1/4 in.)

Allegorian memorial with covered coats of arms. Two putti at a memorial. The flying putto with trumpet in hand laurels the coat of arms with cross on top. The second putto lift a weapon with three birds and the motto "all birds aerden" on the memorial.

. Minerva, with a crowned coat of arms in her hand, surrounded by three putti.

Italy, Ferri, Ciro, Bonacina, Giovanni Battista, Sanctae Martinae virginis et martiris, Saint Martina, verso - stamped, Saint Martina is kneeling in prayer on a funeral pyre. The scene is set in an oval frame with palm branches., print, prints, height 147 mm, width 195 mm, 1615 - 1669, print maker, 1625 - 1669, paper, etching, engraving, engraving (printing process), Italian, 1634 - 1689-09-13, intermediate draftsman

Design for Fountain with Putto Riding a Dolphin, François de Cuvilliés the Elder, Belgian, active Germany, 1695 - 1768, Georg Siegmond Roesch, Nicolas Jean-Baptiste de Poilly, French, 1712-after 1758, Etching and engraving on off-white laid paper, 1745, ornament, Print, Print

Allegory on the 100-year anniversary of Dutch freedom, 1648-1748. The raised personification of peace tricks in the air with an olive branch and a caduceus. Under her, Minerva receives a lance with a liberty hat from a putto. A second putto offers vigilance in the middle a book. Fully links a third putto diabolical figures with a spear in a flame sea. At the bottom the town hall completed in 1648 at Amsterdam in Amsterdam with a portrait of Jacob van Campen and a performance of piling work at construction.

VREDE, JACQUES-Antoine Friquet the Vaursoze, After Severies BourDon, 1663 - 1738 print Numa Pompilius and Minerva, standing in front of a statue of peace, point to various attributes of the arts on the ground. print maker: Franceafter design by: Parispublisher: FranceFrance paper engraving / etching symbols, allegories of peace, 'Pax'; 'Pace' (Ripa). (story of) Numa Pompilius

Venus with putti at sea, Louis Desplaces, After Antoine Coypel, 1692 - 1739 print Paris paper engraving / etching (story of) Venus (Aphrodite). cupids: 'amores', 'amoretti', 'putti'

Amor and the wind let up a fire; Emblemes d'Amour. Amor has a bunch of straw in his arms to throw it on a fire. In the air the wind blows the fire. Just like the wind raises a fire, a lover rejoices the favor of a loved one. Friendly emblem from emblemata amatoria.

Circe Drinkend, Antonio da Trento (Possibly), After Parmigianino, c. 1520 - c. 1550 print Circe drinking from a bowl and on the right the men of Odysseus on a ship. Italy paper Ulysses on the island of Circe (Homer, Odyssey X). Circe. drinking

Sepulchral Monument for Astronomer Giovanni B. Fagiuoli, Pen and brown ink, brush and brown wash, graphite on blued-white paper, Half sphere upon which sits a woman with telescope. A bot leaning on a lyre and a boy with a flaming cornucopia flank a sarcophagus. Inscription at front., Italy, 1795-1809, architecture, Drawing, Drawing

Lazio Rieti Leonessa S. Pietro8. Hutzel, Max 1960-1990 Medieval: Exterior views of architecture, and architectural sculpture (15th century). Post-medieval: Architecture, architectural sculpture, frescoes (15th century), wall painting (17th century), sculpture 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.

Democritus in abderitanen; Democritus and abderitains. Fable clxviii.illustrated van Fabel Clxviii, democritus and abderitans.

Decorations by Lebrun and Mignard at the Palace of Versailles, Engraving on paper, before 1901, Print, Print

Allegorical show on the grave of Willem V, Prince of Oranje -Nassau, Reinier Vinkeles (I), 1806 - 1808 print Father Time reveals a monument with the bust of Willem V, Prince of Oranje-Nassau. The bust is worn by an allegorical female figure with a freedom hat on a stick and a female figure with a Bible. In the foreground, the female personification of the truth, the historiography with laurel wreath and book, points to the image of Willem V. Amsterdam paper etching / engraving Father Time, man with wings and scythe. Truth; 'Verità' (Ripa) (+ abstract concept represented by female figure). 'Historia'; 'Historia' (Ripa). monument, statue

Der Kunstliche Mahler,Apelles. Artist: Jacob Gottlieb Thelot, German, 1708-1760 After: I. E. Nilson After: Johann Georg Hertel, German, active 1750-1760

Allegorical performance on the occasion of the marriage of Abraham Buyssant and Catharina des Amorie; Title page for: Langendijk, Pieter E.A. Huwelykszangs, to Wedding van den Heere Abraham Buyssant, and young woman Catharina des Amorie: in Den Really united within Haarlem den 16den van Wiedemaant 1720, 1720. The wedding couple stands on the stairs of a classic building. They are crowned with a laurel wreath by Hymenaeus that shines a radiant bundle above them by a ring as a symbol of connectedness. For the couple there are putti with wind instruments and burning torches, symbols of love. The left woman, probably the personification of loyalty, offers the pair two keys. The right woman holds a cornucopia. On the front left are two electric gods. The show is in an ornamental picture frame including torches and burning hearts. Above the show, Minerva holds a drapery with the names of Abraham Buyssant and Catharina des Amorie. At the top left Mercury and on the right a putto with the fami

Maritime allegory on Doge Antonio Priuli, Francesco Villamena, After Theodoor van Loon, 1618 - 1624 print The Venetian Doge Antonio Priuli sitting on a car pulled by four seahorses (Hippocampi). In the foreground a coat of arms surrounded by tritons and nereids with sea plants and shells. Italy paper engraving / etching other sovereign: doge. triton(s). Nereids, daughters of Nereus; sea-nymphs

Print made by unknown artist, eighteenth century, Fortune, 1796. Mezzotint with drypoint on medium, slightly textured, cream wove paper.

Vos, Maerten de, Netherlands, Bruyn, Nicolaes de, From creation to expulsion from paradise, Adam and Eve hide themselves from God, verso center - stamped, Adam and Eve hide themselves from God out of shame about their nakedness. In a medallion with an inscription of a Bible text in Latin from Genesis 3, within a rectangular frame., print, prints, height 134 mm, width 122 mm, South Netherlands, 1571 - 1656-10, print maker, printmaker, 1581 - 1656, paper, papier, engraving, engraving (printing process), stipple engraving, Work conception, 1532 - 1603-12-04

Temple of morals representing the duties towards God, Joannes Bemme, After C. Groeneveld, 1800 - 1841 print A monument with plaquettes, on which scenes from the Old Testament, under an arc. Biblical scenes also on the bow. Before the monument a collection of allegorical figures. Rotterdam paper etching the sacrifice of Isaac (Genesis 22). the new tables of the law (Exodus 34). expulsion of Adam and Eve from paradise (Genesis 3:22-24)

Tending the vines, while Bacchus presides over the activities. Date: First published: 29 BC

Le Pot au Lait. Artist: After Jean Honoré Fragonard (French, Grasse 1732-1806 Paris); Engraved by Nicolas Ponce (French, Paris, 1746-1831). Dimensions: sheet: 11 3/8 x 13 1/2 in. (28.9 x 34.3 cm)image: 10 3/8 x 11 3/4 in. (26.4 x 29.8 cm). Date: n.d.. Museum: Metropolitan Museum of Art, New York, USA.

The Apostle Tomas with a roll of paper in his hands. Tomas stands on a pedestal, the front of which depicts his martyrdom, Apostle Tomas, print maker: Jan Luyken, print maker: Zacharias Chatelain (II), intermediary draughtsman: Jan Goeree, Amsterdam, 1698, paper, etching, engraving, h 281 mm × w 178 mm

Saint Pantaenus. Etching by G.G. Winckler after F. Sigrist.

Landscape with fountains and a palace, Isaac de Moucheron, 1677 - 1744 print Landscape with two ornamental fountains in the foreground and a statue of a man and a woman. Water in the background and a palace on the other side. To the painted wall panel in the room of the house of merchant David Bueno de Mesquita. Amsterdam paper etching / engraving palace. ornamental fountain. statues, sculptures in garden

Johann Spillenberger, German (1628-1679), The Contest between Apollo and Pan before King Midas, c. 1670, pen and gray ink with gray wash on laid paper

A Woman at a Fountain by a Ruined Temple, the Farnese Hercules in the Background. Artist: Johannes Antiquus (Dutch, Groningen, 1702-1750). Dimensions: 14 1/4 x 9 3/8 in. (36.2 x 23.8 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Decorations by Lebrun and Mignard at the Palace of Versailles, Engraving on paper, before 1901, Print, Print

Allegory on the Vrede, Elias van Nijmegen, 1677 - 1755 drawing Design for a painting. paper. ink. pencil pen / brush symbols, allegories of peace, 'Pax'; 'Pace' (Ripa)

Plate 1: God Blessing on the Seventh Day, from Genesis Chapter 2, after a lost fresco in the basamento of Bay 1 of the Vatican Loggia 1650-77 Pietro Santi Bartoli Italian This plate is bound with three series after Raphael's designs for the Vatican Stanze.. Plate 1: God Blessing on the Seventh Day, from Genesis Chapter 2, after a lost fresco in the basamento of Bay 1 of the Vatican Loggia. Series of 44 plates depicting the stucco medallions by Raphael's workshop designed for the Vatican Loggie. Pietro Santi Bartoli (Italian, Perugia 1615-1700 Rome). 1650-77. Etching. Giovanni Giacomo De Rossi (Italian, Rome 1627-1691 Rome). Prints

Apollo in the clouds above youthful figures, David Johannes Martini, 1742 print Apollo in his car on a cloud cover, hands out to the youth of The Hague. To his left also between the clouds of Cupido pulled in a car through swans and on the right ahead Bacchus. Title page belonging to Apollo's Kermis-Gift, Part 1, 1743. The Hague paper engraving / etching specific aspects, allegorical aspects of Apollo; Apollo as patron

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Autumn; Autumnus; The four seasons. Bacchus sits as an autumn personification on a cloud and is surrounded by three personalized months that carry vines and other seasonal fruit. Bacchus is partly covered with a tiger skin and crowned with wingerd tops and grapes, in his left hand, he holds a cornucopia. The print is part of a four-part series of prints over the four seasons. Left in the margin numbered: 39.

A collection of more significant names, what is the country of their existence; unknown, louc, Louis (Warsaw; Litographic AD; FL. 1820-1828); 1821 (1821-00-00-1821-00-00);Berek Joselewicz (1764-1809), Branicki, Aleksander (1821-1877), Branicki, Aleksander (1821-1877)-collections, Branicki, Władysław (1848-1914), Branicki, Władysław (1848-1914)-collections, Czacki, Czacki, Tadeusz (1765-1813), Dąbrowski, Jan Henryk (1755-1818), Estko, Sykstus Teodor Ludwik (1776-1813), Fiszer, Stanisław (1769-1812), Godebski, Cyprian (1765-1809), Grabowski, Michał ( 1773-1812), Jabłonowski, Władysław Franciszek Konstanty (1769-1802), Jasiński, Ignacy (1772-1803), Karpiński, Franciszek (1741-1825), Kochanowski, Jan (1530-1584), collection from Sucha-collection, Konarski , Stanisław (1700-1773), Kopernik, Mikołaj (1473-1543), Kostanecki, Telesfor (1772-1813), Kozietulski, Jan Leon Hipolit (1781-1821), Kościuszko, Tadeusz (1746-1817), Krasicki, Ignacy ( 1735-1801), Madaliński, Antoni Józef (1739-1805)-icon

. Eend in the clouds, with the cornucopia and with a forest arrows in her hand. Around her putti. She chained the personification wrath. In the foreground the personification of the river IJ. The print is to a ceiling painting by Gerard de Lairesse and is part of a series with biblical, mythological and allegorical performances.

Allegory on the past eighteenth century, 1799. Allegory on the past eighteenth century, 1799. Central the standing personification of religion at an altar, the time reveals above a column on which the most important events of the past century are. These are (from top to below): death of Willem III (1702); Stadmovinship dedicated to Willem IV (1747); Battle of the Doggersbank (1781); Arrest of Princess Wilhelmina at Goejanverwellesluis (1787); Prince Frederik injured in the Battle of Wervik (1793) and departure from Willem to England (1795). The history points to the right of these cases. On the left, geniën's genius of the arts and sciences appeals from the societies founded in this century to a tree. A text sheet with a statement and price list of the publisher belongs to the print.

La clemence de Joseph II, after, Pfeiffer, drawer, Matheus de Sallieth , copper engraver

Young wife kneels for a Lord, Jan Fokke, 1778 - After 1812 print A young woman kneels for an older gentleman sitting on a chair. In addition to this pair, a man is surprised. This print may have been made for an unknown play. At the bottom right marked: IVDE OLD: IVDE tone. paper etching kneeling figure - AA - female human figure

Jacobs fields; From Physique sacree, ou Histoire-naturelle de la Bible, 1732-1737, by Johann Jakob Scheuchzer (1672 - 1733), a Swiss scholar born at Zurich

Feather and wash drawing by an anonymous artist depicting Venice between Minerva and Hercules on brownish paper, 2nd half of the 18th century, with squared layout and pencil traces.

Portrait of Cornelis de Witt with the trip to Chatham in the background, ca. 1670, 1670 - 1672 print Portrait of Cornelis de Witt in an allegorical context with the trip to Chatham in the background in June 1667. De Witt is leaning on a cannon. In the air, the fame flies, to the left of De Witt a woman with the horn of the transmission. In frame with putti, weapon trophies and in the four corners of wind heads. Above the coat of arms of Dordrecht, under the weapon of Cornelis de Witt. To the painting that hung in the Judicial Room in Dordrecht in 1670. Northern Netherlands paper engraving / etching historical persons. Fame; 'Fama', 'Fama buona', 'Fama chiara' (Ripa). 'Cornucopia', Horn of Plenty. Raid on the Medway Dordrecht

Element vuur, Etienne Baudet, after Francesco Albani, 1695 print Numbered in the bottom right: 1. print maker: Parisafter drawing by: ParisFrance paper engraving fire (one of the four elements). 'Fuoco', 'Carro del fuoco' (Ripa). forging (industrial process). armorial bearing, heraldry

Allegory to the restoration of Stadholder Willem V, 1787, Franciscus Sansom, After Joseph Venez, 1787 print In the middle the Oranjeboom with medallions with the portraits of the stadholder, his consort and children and (on the tribe) those of his ancestors Willem I to IV. Latin words are on the flowers. The tree is protected by the Prussian eagle. At the top left the all -seeing eye. On the left is the Duke of Brunswijk-Wolfenbüttel in the form of Mars. With him on the left is a putto with a shield like Hercules and on the right a putto with a flower garland, which forms a Latin text and some initials. Under him phases. Furthermore, two putti at the tree. On the right Count Bentinck as the Republic with the constitution in book form under his arm and the weapons of Zeeland and Holland on his robe. Behind him Mercury with the freedom hat on a spear and the seven arrows of the provinces. In the distance a river with a few cityscapes. Print Maker: Rotterdam Rapping Rint Maker: Northern N

. A girl tries to keep a putto away from him. In a vignette.

Sacrifice of Noah, Pietro Novelli, Italian, 1603 - 1647, Brush and brown wash, pen and ink on white laid paper, Depiction of the Sacrifice of Noah. At right, figure of Noah is kneeling at the foot of a brick altar. His sacrifice of a ram is shown on the altar amongst the fire, while a cloud of smoke rises from it. At left, a crowd looks on. Vase with handle in the foreground, perhaps for pouring libations. Drawing contained within ovoid., Sicily, Italy, early 17th century, figures, Drawing, Drawing

Tribute to King Willem I, 1816; Tribute of the restored and united the Netherlands to King Willem den first national memorial of thanks and art. Tribute to the fact that Willem Frederik, Prince of Oranje-Nassau, has named himself to King Willem I der Nederlanden on March 16, 1815. Angel Krones His bust and decorate it with a garland from laurel leaves. The Dutch virgin kneels for peace. In the air medallions with the portraits of illustrious predecessors of the young king. At the bottom right, the Dutch lion trambles the French rooster, who likes a performing torch in his leg. A sea view with ships in the background. Under the print four lines text in Dutch.

Plate in Nouveaux Livre de Paysages (New Book of Landscapes), Daniel Marot, French, active in the Netherlands and England, 1661-1752, Etching and engraving on white laid paper, View of a triumphal arch, on a bridge, decorated with statues, reliefs, and garlands. Below, two figures converse., Netherlands, ca. 1700, architecture, Print, Print

Allegory on the death of Michiel de Ruyter, 1676, 1676 - 1677 print Allegory on the death of Admiral Michiel de Ruyter, April 29, 1676. Mausoleum with the body of the deceased sea hero tanked by the Dutch Virgin, the Amsterdam city virgin and a woman with his family crest. Behind this Mercury, Fortuin, Power and other allegorical figures. On both sides two columns with images of the victories of De Ruyter. At the bottom of a inscription on the pedestal of a column in Latin. Stuck on the right side of the print a text sheet with a description of the life of De Ruyter and a statement of the performance in 2 columns in Dutch. Amsterdam paper etching personifications of countries, nations, states, districts, etc.. personification of a city, town-patron(ess). burial rites Amsterdam

'Design of a Title-Page'. France, 18th century. Dimensions: 27,2x21,4 cm. Museum: State Hermitage, St. Petersburg. Author: Gabriel Huquier ( ).

Frontispiece: The family Robinson Crusoe. Corbould, H. (Henry), 1787-1844. Illustrations, Prints. 1816. Carl H. Pforzheimer Collection of Shelley and His Circle. Shipwreck survival

Hemelvaart Van Maria, Francesco Bartolozzi (ACTRUTED TO), After Giovanni Battista Tiepolo, 1739 - 1780 print Maria is taken to heaven by Engelen. The apostles look from the ground. Numbered bottom left: No. 33-1. print maker: Italyafter painting by: Italypublisher: VeniceVenice paper etching / engraving the assumption of Mary ('assumptio corporis'): she is borne into heaven by angels

Unsage on bassin, anonymous, after Jean leepre, after 1658 - UK in 1716 print The middle part of the basin consists of rocks with Neptune at the top in his chariot; In the foreground people are shocked by cheaters. print maker: France (possibly)after design by: France (possibly)publisher: Paris paper etching

Design for title page for General History of the Beginning of the World finished, volume XIII, 1747, draughtsman: Jan Caspar Philips, 1747, paper, pen, brush, h 175 mm × w 125 mm

Title print 'Maphaei ... Barberini ... Poemata': David De Leeuw Wurende.

The Light Of The World 1761 Etienne Fessard French. The Light Of The World 394292

Portraits van Hooft and Goudoever on a monument, 1792, Anonymous, 1792 print A grateful Fatherlander, member of a free corps, hangs the portraits of Hendrik Danielsz. Hooft and Isaac van Goudoever on a column, 1792. Behind the monument the fame blows on Har Bazuin, there is a keeshond on the floor. With two -way verse. Northern Netherlands paper etching

Memorial column with the portrait of Andries Lens in a medallion, Guillaume Philidor van den Burggraaff (Possible), Guillaume Philidor van den Burggraaff, 1821 - 1824 print At the bottom right a bowl. Brussels paper historical persons. gravestone, tombstone. tools, implements of painter. attributes of Venus (with NAME)

Three men stand near a fountain, the source of a river. One man drinks water from the fountain with his hands., Emblem: spring Three men by a fountain, print maker: Caspar Luyken, intermediary draughtsman: Jan Luyken, publisher: Christoph Weigel, Neurenberg, c. 1700, paper, etching, h 108 mm × w 124 mm

. Memorial for Henrik Danielsz. Hooft, mayor of Amsterdam. There is a bust of Hooft on the monument, which is flanked by the personnifications of faith and peace. Above the bust a putto flies that a hose that bites in its tail - has the symbol for eternity. There are two children for the memorial, one holds a burning heart and the other a few keys.

Painting removed from a wall of a room, possibly a triclinium or dining room, in a house in Pompeii in 1749. It shows a bacchant dancer striking a tympanum or tambourine with her hand. She wears a necklace and bracelets, and a fine robe in white lined with red, the colour of Bacchus. Copperplate engraved by Tommaso Piroli from his own "Antichita di Ercolano" (Antiquities of Herculaneum), Rome, 1789. Italian artist and engraver Piroli (1752-1824) published six volumes between 1789 and 1807 documenting the murals and bronzes found in Heraculaneum and Pompeii.

Hommage Champètre (Pastorale), from Nouveaux morceaux pour des Paravants (New Designs for Screens), François Boucher, French, 1703 - 1770, Claude Augustin Duflos, French, 1700-1786, Nicolas de Larmessin IV, French, 1684 - 1755, Etching and engraving on white laid paper, Vertical panel design with a pagoda motif, top center, an architectural ruin showing the capital of a column, an urn, a broken column, interspersed with garlands and leaves. In the central scene a young man is about to lay a wreath of flowers upon the head of a young woman who is reclining amongst bushes, leaves, and branches. Two putti appear below., France, 1740, ornament, Print, Print

Martyrdom of Saint Thaddeus, plate twelve from The Martyrdoms of the Apostles Artist's working dates 1612-1635 France. Etching on paper . Jacques Callot

Evangelist Matthew on clouds, leaf from the episode "Ceiling painting". .

Drawing (Italy); Felice Giani (Italian, 1758-1823)

Fragments of an incomplete cartoon for cotton printing: La Course Anglaise, Petitpierre & Compe., (Nantes, France, founded 1770, Pen and black ink, brush and grey wash on white paper., One of two fragments, parts of three large islands of a cartoon for printed fabric: Picnic scene with officer and two ladies seated at table before an arbor, Nantes, France, 1789, textile designs, Drawing, Drawing

Bellerophon kills the Chimaera, Anonymous, After Theodoor van Thulden, After Peter Paul Rubens, 1642 - 1692 print Bellerophon on the flying horse Pegasus kills the Chimaera. With caption of five lines in Latin. Copy to an illustration of the main performance on the back of the triumphal arch near the Sint-Michielsabdij, set up in Sint-Michielsstraat, on the occasion of the entry of the Cardinal Infant Ferdinand of Austria in Antwerp on 5 May 1635 as the new Landvoogd for the Spanish Netherlands. Antwerp paper etching triumphal arch. Bellerophon, flying on Pegasus' back, kills the Chimera, a fire-breathing monster, with arrows or a spear

Leidens appalled, October 3, 1574. Distribution of food from a barge to the inhabitants of Leiden. In the foreground cheering people, at the top a garland. Design for a wall decoration, Leidens ontzet, 1574 Het vijfde vack / Leiden ontzet / oft het andere /, Ontwerpen voor wanddecoraties met gebeurtenissen uit de 80-jarige oorlog (series title)., draughtsman: Leonaert Bramer, 1606 - 1674, paper, brush, pen, h 322 mm × w 418 mm

Evening; Der Gute Abend; Day parts. A shepherdess with her herd of sheep is in front of a fountain with a satellite cup. On the fountain a round view of which a boy overlooks a wall to the shepherd. Publisher number LVIII.

Allegory of poetry; Poetica; Sciences. Allegory of poetry, surrounded by a Rocaille frame. In a landscape there is a woman with a writing spring and a string instrument. There are three musicming angels in the clouds above her. In the undermaster a four-line German and Latin text. Publisher number 42.

Illustration from Physique sacree, ou Histoire-naturelle de la Bible, 1732-1737, by Johann Jakob Scheuchzer (1672 - 1733), a Swiss scholar born at Zurich

Cherubim playing with lions under a tree. Engraving by R. White, 1675.

Vases and broken pieces of ancient construction plastic partially copied after Piranesi's 'Vedute di Roma', depicted by Nicolaus Klammer using black chalk, showing architectural fragments.

Decoration at Albert van Goor in the Oudemanhuispoort in Amsterdam, 1766, Noah van der Meer (II), 1776 print Decoration applied to the art leaker Albert van Goor in the Oudemanhuispoort in Amsterdam. Presentation of the prince as a Roman hero for the temple of peace. On the occasion of the majority of Prince Willem V on March 8, 1766. Numbered at the top: XV. print maker: Amsterdampublisher: Leiden paper etching symbols, allegories of peace, 'Pax'; 'Pace' (Ripa). prince. throne

Glass window 1 in the Sint-Janskerk in Gouda: freedom of conscience triumphs over the tyranny, ca. 1568-1595; Gouda glasses. The stained glass window in the Sint-Janskerk in Gouda with the performance: freedom of conscience triumphs over the tyranny. The Dutch government is on a chariot in the form of minerva and freedom of conscience. They transfer the tyranny. The chariot is drawn by the personnifications of steadfastness, love, unemtra, justice and loyalty. The show is surrounded by the weapons of cities in the Zuiderkwartier of the States of Holland. These cities are the donors of the glass window to the city of Gouda. At the bottom of a cartouche with a tuner text in Dutch. Glass window through Glazier Adriaan Gerritsz. The free to design by WTewael from 1595-1596 and placed in 1597.

The rape of Proserpine by the god of the underworld. Copperplate engraving by W. Walker after an illustration by J. M. Moreau from The Copper Plate Magazine or Monthly Treasure, G. Kearsley, London, 1778.

Allegorical grave monument for Prince Willem V, 1806, Cornelis Bogerts, After Christiaan van Waardt, 1806 print Graf monument for Prince Willem V, died on April 9, 1806. On the grave an oval portrait of the prince, surrounded by banners and orange branches. Under the portrait a verse of four lines. The standing woman on the right is the friendship, left three children with the prince's weapon. Netherlands paper etching / engraving grave-building, monumental tomb

Umbria Terni Amelia SS. Filippo e Giacomo2. Hutzel, Max 1960-1990 Medieval: Church dates from 1287, cloister 15th century. Post-medieval: Interior renovated 1767; views include architecture, architectural sculpture, altar, statues, organ, wall paintings, paintings on canvas, frescoes, panels, tombs, wood cabinets, marble holy water basin. All views of the exterior and several of the tombs are stored in the Medieval core colection. The Hutzel Collection coverage is of the interior, including painting, statues, and tombs. 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 p

St. Gregory Reluctant to Accept His Election as Bishop of Rome 18th century Carle (Charles André) Vanloo French According to his long-time friend and biographer, Michel-François Dandré-Bardon (1700 - 1783), Carle Vanloo received the prestigious commission for the vault of the church of Saint-Louis des Invalides in 1762. The chapel was initially decorated by Michel Corneille (1642 - 1708) with paintings of the same subject; however, by the mid- eighteenth century the panels were heavily damaged by humidity and needed to be replaced. Vanloo was the logical choice, having been named Premier peintre du roi this same year and having already proved himself worthy of monumental religious painting in his series of canvases for the choir of Notre-Dame-des-Victoires in Paris (executed 1746 - 1755). Vanloo borrowed nothing from Corneille and even changed the subjects, giving them a more fluid, narrative style. Vanloo was certainly familiar with Corneille's paintings, for they were engraved by Cha

Design for the title page Arzases.

Pump�ch� (sic), print for the comedies of Moli�re according to Charles Coypel Fran�ois JOULLAIN. Pich� (sic), print for the comedies of Moli�re according to Charles Coypel. Forte and Burin, 1726. Museum of Fine Arts in the city of Paris, small palace.

Fountain turned to the right; Fonteines et cuuettes. Decorated with a Frisian with Neptune on his chariot. Next to it is a water basin for a buffet with figures.

Allegory of the inauguration of William I Frederik, King of the Netherlands, on the Koningsplein in Brussels on September 21, 1815, Anonymous, 1815 - 1817 drawing Allegory on the inauguration of William I Frederik on the Koningsplein in Brussels on September 21, 1815. Bust of William I Frederik on a column. At the top left a portrait of Dirk I in an oval with a border. At the top right a portrait of William I in an oval with edge. A number of allegorical objects and figures that refer to the inauguration of William I Frederik. Netherlands paper piece of sculpture, reproduction of a piece of sculpture Koningsplein

Satirical vignette Satirical vignette for "antimagnetism or origin, progress, decadence, renewal and refutation of animal magnetism" by J. J. Palet, London, 1784. Anonymous.

Pen and black chalk drawing by Sébastien Le Clerc showing a figure knocking for a frontispiece, with gray-laved shading and a black border line, around 1711.

Membership certificate from a Rotterdam Society. Membership certificate for a Rotterdam Society. Two allegorical figures symbolize unit and breeding. In the foreground a lot of cannons and weapons and a standard of the armed civil guard.

Allegorical emblem at the Peace of Rijswijk, 1697. Draughtsman: anonymous. Dating: 1697. Place: Northern Netherlands. Measurements: h 295 mm × w 205 mm. Museum: Rijksmuseum, Amsterdam.

Bernhard Zaech after Jonas Umbach (German, active c. 1650), Shepherds Traveling past a Ruined Rotunda, c. 1650, etching on laid paper

The flood -Noahs ark. unknown, graphic artist, Rafael (1483-1520), painter

Faam a story, Hendrick Goltzius, 1586 print Faam blows the praise over history, which reads a book on a sarcophagus in a landscape with ruins. Under the show two couplets of eight verse rules in Latin. paper engraving Fama as Roman personification. 'Historia'; 'Historia' (Ripa). landscape with ruins

The Tea-Tax Tempest, or the Anglo American Revolution, 1778., 1778., London Engravings related to the Boston Tea Party, 1773

Painting by Luca Giordano from 1780 depicting Bacchus sleeping, showing the reclining figure, classical features, and drapery.

"Copper engraving and etching by Simon François Ravenet depicting Aethra, mother of Theseus, discovering the secret of his birth, showing figures, gestures, and classical architecture between 1775 and 1779."

Eternity, Josef Ignaz Huber, after Johann Esaias Nilson, 1769 - 1788 print Allegorical representation of the eternal. Right at the table under a canopy is a woman with a burning heart and a globe on her feet. Putti on with a crown, a laurel wreath and a palm branch sitting on clouds and greeting hair. On the left, next to a pedestal with a vase, a putto is blowing. He sits next to objects that symbolize earthly life. Publishing number LVI. Augsburg paper etching / engraving Eternal, 'Aernitus'; 'Eternã','Eternitã o perpetuitã' (ripa). Sitting Figure - Aa - Female Human Figure. The life of man

Drunk tailor Balthazar Knoopius supported by two men, Johannes Christiaan Bendorp, 1813 print Rotterdam paper etching drunkard

Design for a ceiling painting with allegory of peace, Dionys van Nijmegen, 1715 - 1798

The notepads world on fire, 1720, 1720 print Central representation with the secular and spiritual princes and all kinds of other people from poor to rich have been gathered for a globe that catches fire. In the four corners of illsutrations of the volatility of worldly pleasures. With multiple verses. Print 63 in the series The Great Scene of Foolishness with cartoons on the wind trade or action trade of 1720. Northern Netherlands paper etching / engraving scenes symbolizing 'Vanitas'

Design for a ceiling painting with allegorical figures on a balustrade. Draughtsman: anonymous. Dating: 1700 - 1800. Measurements: h 265 mm × w 193 mm; h 246 mm × w 185 mm. Museum: Rijksmuseum, Amsterdam.

French Revolution: Allegory on the destruction of the statue of Louis XV. Place Louis XV (Current Place de la Concorde). 8th arrondissement. (Dummy title)

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