Allegorical Prints of History

An array of intricate engravings depicting allegorical figures from history and mythology, showcasing themes of virtue, strength, and artistic representation.

Allegory of marriage, Pieter van den Berge, 1694 - 1737

Paris, Tardieu, Nattier, Jean-Marc, Coypel, Antoine, Amsterdam, Picart, Bernard, Quos Ego, Neptune Calms the Waves, verso - stamped, The angry Neptune, standing amidst the waves in his chariot, threatens the winds with his trident. In the background a sinking Trojan ship. The representation is set in an ornamental frame crowned by two figures of Fame. Top right Cupid scattering his arrows from his quiver., print, prints, height 443 mm, width 707 mm, Noord-Nederlands, 1673-06-11 - 1733-05-08, print maker, printmaker, 1717 - 1717, first quarter 18th century, paper, papier, etching, etchings, engraving, engraving (printing process), Frans, 1661-04-11 - 1722-01-07, after, after a painting by, 1685-03-17 - 1766-11-07, intermediary draughtsman, after a drawing by, Publication (Event), Publication, publisher

. Cardinal-Infant Ferdinand as Mars, standing on a city wall. In his right hand he holds a command. Victorie crowns him with a laurel wreath. Links various angels with empty coats of arms. Enemies and three river gods reported in the foreground. In the context on the city wall is the title. Title print for a series of 42 illustrating the publication of the description of the arrival of the Cardinal Infant Ferdinand of Austria in Ghent on January 28, 1635 as the new governor for the Spanish Netherlands.

Title print with Ferdinand of Austria as Mars Glad entry of the Cardinal Infant in Ghent, 1635 (series title) Sereniss. Ferdinandi Cardinalis Infantis Trivmphal is introitvs in Flandriae (...) (title on object), Cardinal Infant Ferdinand as Mars, standing on a city wall. He is holding a command staff in his right hand. Victory crowns him with a laurel wreath. On the left various angels with empty coats of arms. In the foreground defeated enemies and three river gods. The title is in the box on the city wall. Title print for a series of 42 illustrating the publication of the description of the entry of the Cardinal Infant Ferdinand of Austria to Ghent on 28 January 1635 as the new governor for the Spanish Netherlands., Triumphal entry and public reception, pageant, 'entré e solennelle ' ' joyeuse entrée ', river personified ' Fiumi '(Ripa), massacre, war, Ghent, governor of the southern Netherlands, Ferdinand of Austria, Pieter de Jode (II), Antwerp, 1636, paper, engraving, h 392 mm × w

Hunting Otters, Charles George Lewis, After Edwin Henry Landseer, 1816 print print maker: Englandafter painting by: Londonpublisher: London paper. etching hunting, chase. beasts of prey, predatory animals: otter

Daniël is liberated from the Lion Puk, 1565 print King Cyrus finds Daniël after seven days alive in the lion's own and has him raised with ropes. Under the performance an explanatory text in Latin. This print is part of an album. paper engraving Daniel is liberated from the lion's den ~ King Cyrus

Copper engraving and etching by François de Poilly the Elder, 1686, showing the biblical scene of the adoration of the shepherds.

Amsterdam, Muller, Harmen Jansz, Spranger, Bartholomeus, Jan Harmensz., Hercules and Scipio led by Minerva on the path of virtue, verso - stamped, Minerva, as the personification of Virtue, leads Publius Cornelius Scipio Africanus and Hercules on the path of virtue to the temple of eternal fame. The wise Cupid shows them the way. On the right, drinking and love-making people as an image of Vice, who is left behind by Scipio and Hercules. At the bottom in the margin two two-line verses in Latin., print, prent, prints, prenten, height 241 mm, width 162 mm, Noord-Nederlands, 1571 - 1628, print maker, printmaker, 1589 - 1593, paper, papier, engraving, engraving (printing process), Work conception, Zuid-Nederlands, 1546-03-21 - 1611-08, after a design by, Publication (Event), Publication, Nederlands, 1540 - 1617-10-07, publisher

Saint Nicholas Rescuing Sailors. Dated: 1771. Dimensions: plate: 23.1 x 12.2 cm (9 1/8 x 4 13/16 in.) sheet: 24 x 12.5 cm (9 7/16 x 4 15/16 in.). Medium: etching on laid paper. Museum: National Gallery of Art, Washington DC. Author: Martin Johann Schmidt.

Then striding forward with a furious bound, he wrench'd a rocky fragment from the ground Burney, Edward Francis, 1760-1848. still image. Illustrations. 1806. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection. Homer. Iliad, Throwing, Stoning, Trojan War, Hector (Legendary character)

Copper engraving by Boëtius Adamsz. Bolswert produced between 1600 and 1640 depicting The Lanzenstich, illustrating a biblical or historical scene with detailed 17th-century printmaking techniques.

The Assumption of the Virgin. Artist: Giovanni Domenico Tiepolo (Italian, Venice 1727-1804 Venice). Dimensions: 14-7/8 x 10-3/4 in. (37.8 x 27.3 cm). Date: 1727-1804. Museum: Metropolitan Museum of Art, New York, USA.

La Franche Comté Conquise pour la Seconde Fois (Franche-Comté Conquered for the Second Time), Charles-Nicolas Cochin the elder, French, 1688 - 1754, Louise-Magdeleine Hortemels, French, 1686 - 1767, Charles Le Brun, French, 1619-1690, Engraving on paper, Within a decorative interior wall panel, figural scene depicting the battle for the territory of la Franche Comté, showing France conquering the region from Spain. The figure of King Louis XIV stands victorious and immobile on rocks wearing elaborate armor at left. Grieving women in the lower part of the composition represent the conquered cities of the region. Mars, God of War, drags them to the foreground; he carries their coats of arms identifying the cities the women represent. In the background, Hercules and Minerva climb a rock symbolizing the citadel of Besançon. Engraving after a painting by Charles Le Brun at the palace of Versailles., Paris, France, ca. 1681-84, figures, Print, Print

The Sacrifice of Iphigenia. Dated: 1744. Dimensions: plate: 28.7 × 38.7 cm (11 5/16 × 15 1/4 in.) sheet: 41.3 × 59.2 cm (16 1/4 × 23 5/16 in.). Medium: etching on laid paper. Museum: National Gallery of Art, Washington DC. Author: Francesco Fontebasso.

Decorative panel with bacchic festival, vineyard with grapes and a torrent of wine amongst the rocks, French school, 18th century, engraving from L'Art pour Tous, Encyclopedie de l'art industriel et decoratif, by Emile Reiber, No 49, Paris, 1862.

Jacques-Louis David drawing depicting the battles of Diomedes, executed with feder, black brush, laved, whipped white, and black chalk on green-gray paper, 1776.

Etching by Charles Dupuis from 1718 titled 'Luft', depicting figures and landscape elements with fine line work.

Atlas bears the world on his shoulders. Atlas bears the world on his shoulders and stands on a pedestal. Left of him blows fame the trumpet, right is Neptune on a globe. In the foreground is extremely left Cybele, the personification of earth, with a crown in the form of walls and towers on her head and a key in her hand. In addition to her, Geografia, personification of geography, describes a drawing board. Geograchtia is surrounded by various measuring instruments and holds a passer. There is a lion to her feet.

Jonah thrown into the sea, Jan van de Velde (II), after Willem Pietersz Buytewech, 1603 - 1641 print Jonah is thrown into the sea to be swallowed up by a large fish. Second print from a series of four about the Bible book Jonah. Northern Netherlands paper etching the sailors reluctantly throw the prophet Jonah into the sea

Adam in Eva, Pierre Imbert Drevet, After Charles -Antoine Coypel, 1707 - 1739 print paper engraving / etching Adam and Eve reproved by God

Kołacz królewski, czyli alegoria rozbioru Polski w 1772 r.. Le Mire, Noël (1724-1801), graphic artist, Moreau, Jean-Michel (1741-1814), draughtsman, cartoonist

Hercules plays the winch. Hercules plays the winch in a cave, next to him is his knots and a sleeping lion. Above Hercules a putto looks.

Depiction of the martyrdom of St. Stephen in an oil sketch with white chalk rastering, showing the figure, action, and surrounding environment.

Coypel, Antoine, Picart, Bernard, Amsterdam, Triumph of Venus, Venus is enthroned on a shell carried by tritons. Next to her stands Cupid, with his quiver in his hand., print, engraving, prints, height 247 mm, width 165 mm, Northern Netherlands, 1673-06-11 - 1733-05-08, print maker, printmaker, 1724 - 1724, first quarter 18th century, paper, etching, engraving (printing process), supervision, French, 1661-04-11 - 1722-01-07

Apotheosis of the arts, Jan Harmensz. Muller, After Bartholomeus Spranger, 1597 print The apotheosis of architecture, sculpture and painting. They are led by fame to the gods of the Olympus, who sit together on the clouds. Bottom left give kings, emperors and the pope assignments to artists. At the bottom right a group of Turkish fighters. Amsterdam paper engraving Olympus. 'Architectura', symbolic representations, allegories and emblems ~ architecture; 'Architettura' (Ripa). 'Sculptura', symbolic representations, allegories and emblems ~ sculpture; 'Scoltura' (Ripa). 'Pictura', symbolic representations, allegories and emblems ~ painting; 'Pittura' (Ripa)

The Netherlands closes eternal peace with England. The Netherlands closes the eternal peace with an altar with England in 1674. There is a boar on their feet, as a symbol of war destructions with France. The French tyranny (with hare) flight anxious away. In heaven the radiant tetragram, the bottom right of the province of Utrecht will be united again with the Union. Allegory on the political situation in the Republic in the year 1674. Numbered at the top right 6.

Allegory of the victories of Prince Eugenius of Savoy, 1719, Jan Walker, 1719, Triumph of Prince Eugenius of Savoy, 1719. Allegory of the prince's many military victories. In the center, the prince standing with sword raised and foot on a vanquished enemy. To the left Hercules and Minerva, in the sky the Fame and the German eagle, to the right captured Turks chained near a triumphal hall. Design for a print., draughtsman: Jan Wandelaar, (mentioned on object), Jan Wandelaar, (mentioned on object), Northern Netherlands, 1719, paper, h 153 mm × w 236 mm

The Lupercalian Festivals, Felice Giani, Italian, 1758-1823, Pen and brown ink, brush and brown wash, over traces of black chalk on white heavy wove paper, Upper drawing, male figure in classical dress at center, with robe billowing behind him, rushing past smoking altar. Figure at right dancing. In background figures visible through smoke. Lower drawing figure in classical armor, apparently Romulus, at right directing ploughman with two oxen. Other figures at left removing(or setting) stones and timbers., Italy, Italy, 1821-22, figures, Sketchbook folio, Sketchbook folio

Apotheosis of a telg from an absolute Neapolitan sex. .

Antwerp, Jode, Gerard de, Vos, Maerten de, Collaert, Adriaen, The seven planets and the seven ages, Septem planetae, septem hominis, Baby time under the influence of the moon, verso middle - stamped, In the air floats the planet goddess Luna. the moon. She is accompanied by Cancer, her astrological sign. In the foreground the personification of Natura, nature. She suckles two children and has a mother hen and a cornucopia as attributes. Her city crown also identifies her as Cybele, mother of the gods. In the background toddlers and preschoolers play together. The print has a Latin caption and is part of a seven-part series on the power of the seven planets over the seven ages of man., print, prints, height 312 mm, width 220 mm, Southern Netherlands (before 1775), 1560 - 1618-06-29, print maker, printmaker, 1581 - 1581, paper, engraving, engraving (printing process), Work conception, Southern Netherlands, 1532 - 1603-12-04, after a design by, Publication (Event), Publication, Northern N

Engel with the portrait of Pieter Burman, Jan Caspar Philips, 1745 print Landscape with an angel, possibly Fama, blowing on a trumpet on which a banner hangs. In her hand the portrait of writer Pieter Burman. In the foreground, Minerva is, as patroness of the arts, who points to the portrait. She is accompanied by a putto that offers the personification of poetry a burning heart. She points to four putti who play with a basket full of flowers. paper engraving / etching symbolic representations, allegories and emblems ~ poetry; 'Poesia' (Ripa). Minerva as patroness. portrait of a writer

The homelands rescued (IT)

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

Marcus Cassius in De Slag Bij Dyrrhachium, Luigi Satatelli (1), 1804 print Marcus Cassius Scaeva in the Battle of Dyrrhachium, 48 AD. Print no. 40 on page 25 in the album 'Raccolta di Soggetti pictures', a Prentalbum with 42 numbered etchings on 28 pages of Luigi Sabatelli (I) himself and from students to his design. paper etching battle (+ infantry) Durres

Capricci di varie battaglie. Dated: 1635. Medium: etching on laid paper. Museum: National Gallery of Art, Washington DC. Author: Johann Wilhelm Baur.

Royal church, or allegory of the partition of Poland in 1772; Perrin, Louis (1799-1865), Simon, Frédéric-Émile (Strasbourg; Litographic AD; 1832-Ante 1886), Le Mire, Noël (1724-1801), Moreau, Jean-Michel (1741-1814); after 1831 (1831-00-00-1835-00-00);

Print made by Bernard Lens, 1659-1725, British, Venus Presenting Armour to Aeneas, undated. Mezzotint on moderately thick, moderately textured, cream laid paper.

Design for the Frontspiece of The British Sportsman. Artist: William-Samuel Howitt (British, ca. 1756/57-1822/23 London). Dimensions: sheet: 7 1/4 x 5 3/8 in. (18.4 x 13.7 cm). Date: ca. 1812. Museum: Metropolitan Museum of Art, New York, USA.

. Landscape with hearing (), An opened songbook in hand. Various string instruments at her feet. She looks at a soldier, who reaches her hand. Minerva points to the coat of arms of Philip II, Duke of Orléans. In the background a putto with a winch in hand.

Count Willem II sinks at Hoogwoud through the ice, 1256, 1660 - 1712 print Count William II sinks at Hoogwoud through the ice of the Berkmeer and is killed by the West Frisians, January 28, 1256. The Count in Harness sinks through the ice and is beaten to death by wild farmers with bates. Northern Netherlands paper etching violent death, being killed; being mishandled and maltreated; seeking death. attempt, political murder High forest

The Agony in the Garden, from 'Iconographia' 1670 Melchior Küsel. The Agony in the Garden, from 'Iconographia'. 'Iconographia'. Melchior Küsel (German, 1626-1683). 1670. Etching. Prints

Title page for the Europisch Mercury of 1719. Title page for European Mercury, DL. XXX of 1719. History writes in her book, Mercury points her on a roll of paper with emblems of the Spanish fleet and a mouse at a rock. In the background the grave of King Charles XII of Sweden.

Martyrdom of Two Female Saints. Artist: Cosimo Ulivelli (Italian, Florence 1625-1704 Florence). Dimensions: 16-3/8 x 10-1/8 in. (41.6 x 25.7 cm). Date: 1625-1704. Museum: Metropolitan Museum of Art, New York, USA.

Coronis Changed into a Crow. Dated: 1589. Dimensions: plate: 18.7 x 26 cm (7 3/8 x 10 1/4 in.) sheet: 20.2 x 27.5 cm (7 15/16 x 10 13/16 in.). Medium: engraving on laid paper. Museum: National Gallery of Art, Washington DC. Author: after Hendrick Goltzius Workshop of Hendrick Goltzius.

Bleeding for the walls of a burning city, Martin Speer, 1742 print paper etching war. genocide. on fire, ablaze

Ceyx, king of Trachis, drowns at sea but returns and wakes Somnus sleeping in his cave surrounded by dreams : Ceyx and his mourning wife Alcyone are changed into kingfishers

Allegory on the victory of the baron of Wassenaer in the battle in the Sont, 1658. Allegory on the victory of the Baron van Wassenaer in the battle in the Sont, sea battle between the state fleet under Admiral Jacob Baron van Wassenaer, Lord of Obdam, And the Swedish fleet under Admiral Carl Gustaf Wrangel, November 8, 1658. Jacob Baron van Wassenaer sitting in a triumph cart-drawn triumphorn, a trident and stir, in the hands surrounded by tritons. In the blows the fame the news of victory. In the caption 4 verses of 4 lines. Part of a handwriting on the back.

Jonas Suyderhoff after Sir Peter Paul Rubens, A Lion Hunt A Lion Hunt

Rinaldo falls in love with Armida due to Venus and Cupido, Giovanni Domenico Tiepolo, After Giovanni Battista Tiepolo, 1775 print Venice paper etching Armida. Rinaldo. Venus and Cupid (Cupid not being mere attribute)

"Copper engraving by Aegidius Sadeler the Younger created between 1590 and 1629 titled 'Unconsciously Do Not Honor', depicting a figure with gestures and symbolic elements in an allegorical composition."

Thisbe flight for a lion, Hendrick Goltzius (workshop of), After Hendrick Goltzius, 1615 print Thisbe looks anxiously at a lion, who walks around at the source where she would meet Pyramus. Two times two lines of Latin text under the performance. This print is part of a series of 52 prints that represent stories from Ovid's metamorphoses. This series falls into three numbered series: two of 20 prints and one of 12 prints. This print belongs to the third series. print maker: Haarlemprint maker: Netherlandspublisher: Netherlands paper engraving Thisbe, fleeing from a lioness, drops her veil (the scene may be situated near a fountain)

Pierre Lélu allegorical drawing intended as a frontispiece for 'Etudes de la Nature' by Bernardin de St. Pierre, executed in graphite, Bister wash, and pen.

Jacques Callot, The Cult of the Demon, probably 1627 The Cult of the Demon

Northern Netherlands, Vitez, Joseph, Roosing, Hendrik, Rotterdam, Sansom, Franciscus, The orange tree protected from the storm or symbolic memorial of the happy revolution in the United Netherlands, Allegory of the recovery of stadtholder William V, 1787, verso lower left - stamped, In the middle the Orange tree with medallions with the portraits of the stadtholder, his wife and children and (on the trunk) those of his ancestors William I to IV. Latin words are on the flowers. The tree is protected by the Prussian eagle. Top left the All-Seeing Eye. On the left is the Duke of Brunswick-Wolfenbüttel in the form of Mars. 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. Below him fasces. 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 coats of arms of Zeeland and Holland on his robe. Behind him Mercury with th

Apotheosis of a poet. .

Allegorical performance with portrait of Willem V; Title page for: Jan Jacob Mauricius, digniting excursions, 1753. In a boat, surrounded by two sea oven, is a raised man with a sheet of paper in his hand. In the air a woman holds a winch and laurel wreath and bears the portrait of Willem V in oval together with a putto. High in the air fama with two bazuines.

The vision of Ezekiel, Ezekiel, below in the landscape, has a vision of God the Father floating in the air with the symbols of the four Evangelists and two putti, Ezekiel's vision of God sitting on his throne carried by four tetramorphs, each of them having four wings, wheels within wheels beside them, Giuseppe Longhi (mentioned on object), Milaan, 1776 - 1831, paper, engraving, h 470 mm × w 341 mm

Allegory on shipping, Noah van der Meer (II), 1751 - 1822 print Two sailing ships sail at sea, which unload cannon shots on a fortress. The fame blows on the trumpet on the clouds. In addition to him, Outti play with a compass and with a sextant. In the foreground various nautical instruments and putti with a globe and an armillarium. Amsterdam paper etching sailing-ship, sailing-boat. Fame; 'Fama', 'Fama buona', 'Fama chiara' (Ripa). cupids: 'amores', 'amoretti', 'putti'. firearms: cannon. quadrant, sextant, octant (nautical instruments). armillary sphere, skeleton celestial globe

Water; Aqua; The four elements. Playing putti in the water and a group of flying putti above. A woman in the water grabs a flying putto at the ankle. Print from a series of the four elements.

Ghezzi, Pier Leone, Frey, Jacob (der Ältere), Moses with the Tables of the Law, verso - stamped, print, prints, height 270 mm, width 200 mm, 1681 - 1752-01-11, print maker, printmaker, 1691 - 1752, paper, papier, engraving, engraving (printing process), Italian, 1674 - 1755-03-05, intermediary draughtsman, after a drawing by, Work conception

Venice, Rossetti, Domenico, Fight on a bridge in Venice (right part), verso - stamped, A large group of men fighting on a bridge in Venice. Threatening clouds in the background., print, prints, height 587 mm, width 430 mm, Italian, 1650 - 1736-04-13, print maker, printmaker, 1660 - 1736, paper, engraving, engraving (printing process), etching

Jean Baptiste Massé (designer) and Benoît Audran II (engraver) after Charles Le Brun, La Hollande accepte la paix et se détache de l'Allemagne et de l'Espagne 1678, published 1752 La Hollande accepte la paix et se détache de l'Allemagne et de l'Espagne 1678 Cintre de la Galerie du côté du Salon de la Paix (Holland Accepts Peace and Detaches Itself from Germany and Spain 1678, Center of the Gallery next to the Salon of Peace) pl. 33

Drawing by Bernard Picart depicting the death of Hercules, executed in gray pen with gray wash, brushwork, and reddish traces.

Plate 13: Cybele in her chariot, drawn by lions; from Guillielmus Becanus's 'Serenissimi Principis Ferdinandi, Hispaniarum Infantis...'. Dimensions: Sheet (Trimmed): 14 5/8 × 10 15/16 in. (37.1 × 27.8 cm). Published in: Antwerp. Publisher: Johannes Meursius (Flemish, active 1620-47). Date: 1636.On January 28, 1635, the city of Ghent celebrated the entry of Cardinal-Infante Ferdinand of Spain, the recently appointed governor of the Southern Netherlands. A group of Flemish artists were commissioned to create paintings for the decoration of two triumphal arches erected in the city's main square for the occasion. Though the majority of these canvases are now lost, the engravings in Guillielmus Becanus's 'Serenissimi Principis Ferdinandi, Hispaniarum Infantis, S.R.E. Cardinalis, Triumphalis Introitus in Flandriae Metropolim Gandavum', Antwerp 1636, illustrate what the series looked like. The Metropolitan Museum of Art owns 34 plates from the set of 42. Museum: Metropolitan Museum of Art, Ne

Jonah put overboard; From the prophet ionas; History of Jonah; Den Grooten Figuer Bibel (...). As the ship on which Jonah has fled to perish in a storm, Jonah is designated by drawing as the guilty. He is thrown overboard by the crew. The fish swims in the foreground, which Jona will start. Under the show a reference in Latin to the Bible text in Jonah 2:15. This print is part of an album.

The mythological scene in the form of a ceiling EOS (Aurora), goddess of Jutrzenka surrounded by her retinue. unknown

Allegory with the city mawn from Ghent in her chariot; entry from Ferdinand in Ghent in 1635 (no. 13); Qualis Berecynthia Mater Laeta Deum Partu Centum Complexa Nepotes / Carolus V. Gandavi Natus; Tabula I. Adversae Partis. Cybele Ganda Opposita. Allegory with the city mawn from Ghent in her chariot drawn by lions. Allegory with Cybele such as Ghent as the birthplace of Emperor Charles V. Performance at the top of the rear of the triumph port Arcus Fernandi on the Friday market. Leaf No. 13 in a set of 42 plates that illustrate the publication of the description of the arrival of the Cardinal Infant Ferdinand in Austria in Ghent on January 28, 1635 as the new governor for the Spanish Netherlands.

Three historical figures for a sea battle, Simon Fokke, 1722 - 1784 print For a sea battle, the Admirals George Anson, Louis Boizot and Francis Drake are in conversation. Above an angel blows the trumpet and holds a laurel wreath in his hand. In the foreground, a winged and crowned angel crowned a curtain keeps aside. Under the image a text with the date December 1763. Amsterdam paper etching angels holding a curtain. crowning the victor with laurel. activities of angels (in heaven). horn, trumpet, cornet, trombone, tuba

The Battle of the Amazons. Artist: After Peter Paul Rubens (Flemish, Siegen 1577-1640 Antwerp). Artist and publisher: Gaspard Duchange (French, Paris 1662-1757 Paris). Dimensions: Sheet (Trimmed): 14 1/16 × 17 1/2 in. (35.7 × 44.5 cm). Date: ca. 1700. Museum: Metropolitan Museum of Art, New York, USA.

Combat of Ajax and Hector. Orley, Jan van (Flemish, 1665-1735) (cartoon creator) draughtsman Borcht, Gaspard van der (Flemish, 1700-d.1742) (workshop) weaver Borcht, Pierre van der (Flemish, act.1712-d.1763) (workshop) weaver Borght, Franz van der (Flemish, act.1720-1765) (workshop) weaver c. 1740-1742 Tapestry Dimensions: H 11'3" x W 20'7" Tapestry Materials/Techniques: wool & silk Culture: Flemish Weaving Center: Brussels Ownership History: Lord Lucas & Dingwall coll., Wrest Park, England; sold at Christie's (London) 6/18/1913, lot 142; purchased by Bacri frères. French & Co. purchased from Mrs. B. C. Foy 6/11/1941 also lists: 5/29/1943; sold to North Carolina Museum of Art via Jack Linsky 1/30/1956. Mr. & Mrs. Jack Linsky, New York; gift to North Carolina Museum of Art. North Carolina Museum of Art coll.; sold, Sotheby's (New York), 5/26/1992. United States, New York, New York, Sotheby's, May 26, 1992, lot 244. Inscriptions: City mark in central field, right of center Inscriptions:

Clemente Bocciardo's drawing depicts the Death of Lucrezia using feather pen and laved technique on brown paper with white highlights, focusing on figures and scene.

Rafael Ximeno y Planes / 'Neptune and Amphitrite'. XVIII century. Grey-brown wash, Pencil ground on laid paper. Museum: Museo del Prado, Madrid, España.

Telemachus and Mentor swim to a boat of Phoenicians, led by Adoam. The scene is framed by an ornamental frame with olive branches and a bow at the bottom. Numbered top right: No. I. Telemachus escapes from the island of Calypso, print maker: Jean-Baptiste Tilliard, (mentioned on object), intermediary draughtsman: Charles Monnet, (mentioned on object), publisher: Pierre Didot, print maker: France, intermediary draughtsman: France, publisher: Paris, publisher: Paris, publisher: Paris, publisher: Paris, publisher: Paris, 1785, paper, etching, engraving, h 318 mm × w 250 mm

Alkmaar, Schabaelje, Jan Philipsz, Amsterdam, Visscher, Claes Jansz. (II), Vos, Maerten de, Collaert, Jan (II), Den Grooten Figuer-Bibel, Apostolic Creed, Of 'T Geloove en sijn twaelf Artyckelen, Carnis resurrectionem, Vision of Ezekiel, bottom right on album page - handwritten in brown ink, Illustration of the eleventh article of faith (the resurrection of the body) of the Apostles' Creed. The prophet Ezekiel stands in a valley full of bones. He speaks with God the Father who appears in the sky in the form of the teragram. Around him the dead bones come to life and become living people. This print is part of an album., print, album sheet, prints, 205, height 191 mm, width 139 mm, Southern Netherlands (before 1775), 1566 - 1628-05-26, print maker, printmaker, 1570 - 1618, paper, engraving, engraving (printing process), Work conception, Southern Netherlands, 1532 - 1603-12-04, after a design by, Publication (Event), Publication, Northern Netherlands, 1586 - 1652-06-19, publisher, 1592 -

Galatea riding a scallop shell chariot over the seas accompanied by Neptune, nymphs and cherubs, symbolising the element water. Etching by F. Bartolozzi, 1796, after F. Albani.

Blumauer's 'Aeneide'. Daniel Nikolaus Chodowiecki (Germany, Danzig, 1726-1801). Germany, 1789. Prints; etchings. Etching

Muziek, Jacques-Antoine Friquet the vauroze, After Severies Bourdon, 1663 - 1738 print Arion saved by a dolphin at sea. print maker: Franceafter design by: Paris paper engraving / etching 'Musica' (~ quadrivium); 'Musica' (Ripa). Arion rides on a dolphin, holding his lyre

Argonauts pass the symples; Sypodes. The argonauts sail through a close passage between the cliffs called sympodels, which guard the entrance to the Bosphorus. A pigeon points their way. With an explanatory caption in French.

Amsterdam, unknown, Fokke, Simon, Allegory with the arrival of William IV in The Hague, 1747, verso - stamped, Allegory with the arrival of Prince William IV in The Hague, April 29, 1747. In the foreground sits the Dutch Virgin with a cap of liberty, next to her lies the Dutch lion with seven arrows. On the right, Neptune sails on his horse-drawn chariot and points to the wind gods on the clouds. In the background ships with Dutch pennants sail at sea towards The Hague., print, prints, height mm, width mm, Northern Netherlands, 1712-09-01 - 1784-04-10, print maker, printmaker, 1747 - 1747, paper, papier, etching, etchings, engraving, engraving (printing process), Work conception, after own design by, Publication (Event), Publication, publisher

Cloelia escapes on the back of a stolen horse, Johannes Glaber, after Gerard de Lairesse, 1656 - 1726 print Cloelia escapes with a stolen horse from the Etruscen camp. The other prisoners are around her. The print is part of a series with mythological and allegorical representations. unknown paper etching Cloelia and her companions escape Porsena's camp: she crosses the Tiber on horseback and persuades her companions to swim after her

Drawing, Odysseus and the Greeks i; Felice Giani (Italian, 1758-1823); Italy; pen, brown ink, brown-gray wash, over traces of graphite support: off-white paper; 53.3 x 38.2 cm (21 x 15 1/16 in.) 21 x 15 1/16 in. Mat: 55.9 x 71.1 cm (22 x 28 in.)

Samson fights the Philistines with the jaw bone of a donkey, Giovanni Paolo Schor, 1650 print Text in Latin (Lingua Bellatrix) on the banner. paper etching Samson avenges himself on the Philistines and smites them 'hip and thigh with great slaughter'. Holy Ghost represented as a dove (in flames)

Battle of Pharsalia. Poerson, Charles (French, 1609-1667) (author of design) painter Clerc, Jerome le (Flemish, act.1677-d.1718) (workshop, attr.) weaver c. 1700 Tapestry Dimensions: H 12'2" x W 17'4" Tapestry Materials/Techniques: unknown Culture: Flemish Weaving Center: Brussels Ownership History: French & Co. Inscriptions: Inscription in upper border banderole: PHARSALIAM DOMANS Julius Caesar on white horse charges forward with spear in hand (center, middle ground); men kneel at site of Caesar (L, foreground); 2 men wrestling (R of center, foreground); soldiers on horseback approach (R, background); tents (L, background) (L & R BRD) architectural moldings terminating in suit of armor at top; (UPR BRD) garland of laurel branches, central cartouche with inscribed banderole; (LWR BRD) architectural moldings flanks central garland of laurel branches 3 different borders have been identified for this series & they are represented in the photographs from this Christie's sale. 3 other weave

A copper engraving by Petrus Clouwet created between 1649 and 1670 depicting Venus Lusthoff, showing the goddess Venus in a classical composition with detailed 17th-century engraving techniques.

Allegorie on the acceptance of Stadholdership by Prince Willem V, 1766, Antoine P. Duboulois, After Benjamin Samuel Bolomey, 1766 print Allegorie on the acceptance of the Stadholderhood by Prince Willem V at his age on 8 March 1766. The prince is led by his mentor, the Duke of Brunswijk, to the seat of Stadholder. The prince is accompanied by the piety and truth, justice, caution and the Dutch Virgin await at the throne. On the right, the angel of God drives away the discord, fanaticism and heresy. In the foreground, geniuses play with the symbols of arts and sciences. The print includes a text sheet with an explanation (see RP-P-OB-85.628A). paper engraving / etching historical persons. ruler, sovereign

Justice, frontispiece from the 'Seven Deadly Sins' ca. 1550-55 Léon Davent French. Justice, frontispiece from the 'Seven Deadly Sins' 337635

Ontmoeting tussen Caesar en Antonius.Antonius and Caesar meet in boats on a river. Antonius immediately takes away distrust away by stepping out of his boat.

Coypel, Charles-Antoine, Picart, Bernard, Amsterdam, Don Quixote and Sancho Panza fighting on a wooden horse, verso lower right - stamped, Don Quixote and Sancho Panza, seated on a wooden horse, believe they are riding through the air to avenge Doloride. Bystanders look on. In the margin a two-line caption in French., print, book illustration, prints, height 220 mm, width 165 mm, Noord-Nederlands, 1673-06-11 - 1733-05-08, print maker, printmaker, 1732 - 1733, second quarter 18th century, paper, papier, etching, etchings, engraving, engraving (printing process), intermediary draughtsman, after a drawing by, Frans, 1694-07-11 - 1752-04-16

Shakspeare. Third part of King Henry 6th, act II, scene V : A field of battle, near Towton, in Yorkshire. King Henry. Son that had kill'd his Father - father that had kill'd his son. Queen, Prince of Wales, & Exeter, in the distance , Battlefields, Casualties, Kings, Shakespeare, William, 1564-1616, Characters, Shakespeare, William, 1564-1616. King Henry VI. Thomas Pennant Barton Collection

Mercury comforts the Brussels city lane; Perspectives des Ruines de la Ville de Bruxelles. Title page of a series of twelve representations of the Brussels ruins after the bombing by the French Maarschalk de Villeroy between 13-15 August 1695. In the performance, Mercury tries to comfort the city mandate of Brussels with the news of the conquest of names. In the background the burning city.

'Hercules and the Hydra', 1655. Artist: Michel de Marolles

Allegory with the city -wit of Ghent in her chariot; Entry of Ferdinand in Ghent in 1635 (no. 13), Antony van der Does, after Antoine van den Heuvel, after Peter Paul Rubens, 1675 - 1685 print Allegory with the Stadzensmaag van Gent in her chariot pulled by Leeuwen. Allegory with Cybele as Ghent as the birthplace of Emperor Charles V. Presentation centrally on top of the back of the triumph -gate Arcus Fernandi on the Vrijdagmarkt. Page no. 13 In a whole of 42 plates that illustrate the publication of the description of the entry of the Cardinal Infant Ferdinand of Austria in Ghent on January 28, 1635 as the new governor for the Spanish Netherlands. Southern Netherlands paper engraving triumphal arch. chariot, triumphal car. personification of a city, town-patron(ess) Friday market. Ghent

A black ink and watercolor depiction of Maxentius vision with dark gray-blue sky, gray-green horses, carmine flags and angels, light blue coats of arms, blue-green aureole and lights, dated 1596.

The Conversion of Saint Paul. Schelte Adamsz. Bolswert (Dutch, active in Flanders, c. 1586-1659); after Peter Paul Rubens (Flemish, 1577-1640). Date: 1621-1633. Dimensions: 430 x 595 mm (image); plate mark not visible; 447 x 301 mm (sheet). Engraving in black on cream laid paper. Origin: Netherlands. Museum: The Chicago Art Institute, USA. Author: Schelte Adamsz. Bolswert.

Complaint from the Zuidzee-Compagnie, 1720; The Zuidzé Compagnie raised by wind in top / complains now with her loss with a concerned being; The great scene of foolishness. Complaint from the Zuidzee-Compagnie, 1720. The female personification of the South Sea Company with its children lying between books with debts on a sofa. A background with books referred to as: library of a sad promotionist. With small scenes of other failed enterprises, top left are a man breakdown by a man. Under the show a caption with a verse in three columns printed from a separate plate. Print 21 in the series The large scene of foolishness with cartring prints at the wind trade or action trade of 1720.

. A print of two parts with an allegory on the victory of King Louis XIV. Louis XIV sits on a horse and trambles his enemies in the form of monsters and personnifications of opponents and vices. The holy trinity keeps the French crown above the king's head. In addition to her two angels, one of which has a flag with areas conquered by France. The text on the lower magazine refers to J. N. Colbert's Tractatie, Sorbonne, December 30, 1677.

Entry of Leopold Willem, governor of the Southern Netherlands, in Ghent (bottom right), Schelte Adamsz. Bolswert, after Erasmus Quellinus (II), 1653 print Entry of Leopold Willem, governor of the Southern Netherlands, in Ghent. Print consisting of four parts. This is the part at the bottom right. After the entry of Leopold Willem, the enemies from Ghent flee. In the background a map of the Southern Netherlands with the city of Ghent on the right. Antwerp paper engraving conqueror triumphing, triumphal entry of victor. equestrian state-portrait

Archangel Michael defeats the dragon. Draughtsman: Jacob de Wit (mentioned on object). Dating: 1720. Measurements: h 372 mm × w 235 mm. Museum: Rijksmuseum, Amsterdam.

Light Expelling Darkness, James Gillray, 1757-1815, British, 1795, Etching

Frontispiece to "Freemasonry" by Alexandre Lenoir, Longueil, Joseph de (1730-1792)

Print, The End of the Year, Illustration for "Königl: Grosbrit anische Genealogischer Kalender auf das 1780 Jahr Lauenberg bey J.G. Berenberg"; Germany; line and stipple engraving with etching on paper; 10.3 × 6.3 cm (4 1/16 × 2 1/2 in.)

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