Allegorical Representations of the Senses

Mythological compositions illustrating the five senses through sensual figures and allegorical themes, showcasing classical art techniques.

Andrea Mantegna (Italian, ca. 1431 - 1506). Battle of the Sea-Gods left side, ca. 1470-1480. Engraving and drypoint on laid paper. Plate: 340 mm x 444 mm (13.39 in. x 17.48 in.).

The five senses; Mythological and allegorical performances. The five-person sensified senses taste (Gustus), hearing (audit), smell (Odor), face (visual) and feeling (tactus). Left in the foreground, seen on the back, hearing, playing on a string instrument. Also in the foreground, in the middle is taste, next to a basket with fruits and a fruit to her mouth. On the right is smell, smelled of flowers. In the middle in the middle sits face, with a hand mirror in her hand. On the left in the background, feeling is bitten by a snake.

Andrea Mantegna, Battle of the Sea Gods (left half), c 1485 1488 Battle of the Sea Gods left half

. A naked nimph is carried out by the water by a young triton, while there are two putti, one of which has a arrow bundle, to other marine beings be worn by the water. This print is part of a four-part series about mythological figures.

Antique sculpture known as the Farnese Bull The brothers Amphion and Zethus tie the braided hair of Dirce to the horns of a bull Three columns of Latin text in lower margin, Dirce is tied to a bull Farnese Bull, print maker: Diana Mantuana, (mentioned on object), anonymous, publisher: Claude Duchet, (mentioned on object), Rome, 1581, paper, engraving, h 399 mm × w 278 mm

The Deification of Aeneas by Nymphs and Cupids. Daniel van den Dyck; Flemish, 1614-1662. Date: 1640-1657. Dimensions: 316 × 412 mm (image); 318 × 416 mm (sheet, trimmed within platemark). Etching in black on ivory laid paper. Origin: Flanders. Museum: The Chicago Art Institute, Chicago, USA.

Venus en Vulcan, Agostino Veneziano, after Rafaël, 1530 print Venus and Vulcanus are in a departure, behind them a curtain. Five putti around them, two of which are busy tensioning an arc. On the right in the background, the blacksmith is visible by a doorway. paper engraving / etching Vulcan and Venus. Cupids: 'Amores', 'Amoretti', 'Putti'

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

The Last Judgment, Page C, Giorgio Ghisi, After Michelangelo, 1530 - 1582 print A detail from the fresco 'The Last Judgment' by Michelangelo in the Sixtine Chapel. Print Maker: ItalyAfter Design by: Vatican City paper engraving Last Judgement

Birth of Venus, Pieter Claesz. Soutman (workshop or), after Pieter Claesz. Soutman, after Peter Paul Rubens, 1640 - 1670 print Venus rises from the foam and squeezes her hair. Sea beings offer its shells and pearls, while Neptune is watching. Putti play in the clouds. paper etching / engraving birth of Venus; Venus Anadyomene: after Uranus' castration Venus rises from the sea wringing the water from her hair; usually she is awaited by the Hours. cupids: 'amores', 'amoretti', 'putti'

Andrea Mantegna (Italian, ca. 1431 - 1506). Battle of the Sea-Gods left side, ca. 1470-1480. Engraving and drypoint on laid paper. Plate: 340 mm x 444 mm (13.39 in. x 17.48 in.).

Venus, Bacchus and Ceres. The goddess Venus and Amor between Bacchus (left) and Ceres (right).

Foolish world prefers the temporary good, Dirck Volckertsz. Coornhert, After Hendrick Goltzius, 1575 - 1581 print The personification foolish world (Sultus Mundanus) bears the glasses of wrong conviction (opinion). She points him to the shadow figure Lie (Mendacium) that comes with a bag full of secular goods: wealth, gluttony, sensual love and power. In exchange for this temporarily good, foolish world offers its heart. Silly world does not seem to realize that he is standing in the grave with one leg. With his other leg he stands on an hourglass, who symbolizes the temporality of human existence. The personification truth (Veritas) tries to bring foolish world to different thoughts with a crucifix, but in vain. The print has a Latin and a Dutch caption and is part of a four -part series on the subject of how wrong conviction the world is ruining. paper engraving / etching Opinion. Truth; 'Verití' (Ripa). fool, simpleton, numskull. Folly, Foolishness; 'Pazzia', 'Sciocchezza', 'Stolti

Etching by Giovanni Lanfranco depicting Adam and Eve being expelled from Paradise, showing the figures, angel, and landscape details.

Speculum Romanae Magnificentiae: Laocoon 16th century Nicolas Beatrizet French This print comes from the museums copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title ‘Speculum Romanae Magnificentiae first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Instead, client

. The bathing Diana and its nymphs are surprised by Actaeon. He is changed to a deer for punishment and he is killed by his own dogs.

. The naked goddess Fortuna shares, standing on a globe, its gifts. However, she stands with her back to the people who don't receive anything. They are literally with the hands in the hair. At the bottom of the margin Three two-year verses in Latin.

Angelo Falconetto, Sirens, Naiads, and Tritons Sirens, Naiads, and Tritons

Italy, Farinati, Paolo, Drunken satyr and putti, verso - stamped, Two putti help a drunken satyr to dismount from his goat. On the right a putto with a wind instrument. On the left three putti with a lion., print, prent, prints, prenten, height 134 mm, width 381 mm, Italian, 1524 - 1606, print maker, prentmaker, 1534 - 1606, paper, papier, etching, etchings

Bacchanal with satyrs and bacchants at Wine press.

Vatican City, Alexander VII, Rome, Collignon, François, Italy, Carracci, Annibale, Cesio, Carlo, Galeria nel Palazzo Farnese in Roma, The sea nymph Galatea rests in the arms of a sea centaur. They are surrounded by a throng of sea creatures. Above float four putti., print, prints, Triumph of Galatea, Paintings in Palazzo Farnese in Rome, height 249 mm, width 450 mm, Italian, 1622 - 1682, print maker, printmaker, 1656 - 1656, paper, papier, etching, etchings, intermediary draughtsman, after a drawing by, Work conception, 1560-11-03 - 1609-07-15, after a design by, after, after a painting by, Publication (Event), Publication, French, 1610 - 1687, publisher, uitgever, 1599-02-13 - 1667-05-22, gever van privilege

French crown, France, Heince, Zacharie, Bignon, François, Mythological figures at the water, Triumph of Galatea with Hercules and allegorical figures on the bank, verso - stamped, print, prints, height 130 mm, width 378 mm, 1620, print maker, printmaker, 1630 - 1720, paper, papier, etching, etchings, engraving, engraving (printing process), Work conception, 1611 - 1669-06-22, after design by, after, after painting

A copper engraving by Hendrick Goltzius depicting the four elementsearth, water, air, and firepersonified through allegorical figures, created in 1588.

Erichthonius in his basket, Pieter van Sompel, after Peter Paul Rubens, 1615 - 1657 print The three daughters of King Cecrops open the basket with Erichthonius entrusted to them by Minerva. A dog grumbling together when he sees the legs of the baby, ending in snake tails. On the left a fountain with the representation of Diana van Ephesus, who here proposes Mother Earth (Gaea), the mother of the Kleine Erichthonius. Under the image a verse in Latin of the Polish poet Maciej Kazimierz Sarbiewski. Scene from Ovidius' Metamorphosen (with. II, 553-563). paper engraving Erichthonius, hidden in a basket, is handed over by Minerva to Aglauros and her sisters (Cecrops' daughters) to be taken care of. 'Natura' (allegorical figure or scene; or as Diana of Ephesus, with many breasts); 'Natura' (Ripa). ornamental fountain. cupids: 'amores', 'amoretti', 'putti'

Group lying and kneeling figures, Eloy Bonnejonne, After Rosso Fiorentino, c. 1640 - 1695 print A group of 6 lying and kneeling naked and half -naked figures. paper etching kneeling figure. lying figure. the (nude) human figure; 'Corpo humano' (Ripa) (+ despairing)

Playing putti, master of the dice, after Giovanni Martini, after Rafaël, c. 1530 - c. 1560 print Eight playing putti in a wooded area. In the middle is a putto that holds a round fruit against his face. On the right, a putto holds an arrow in the air. Italy paper engraving cupids: 'amores', 'amoretti', 'putti'. archer's weapons: arrow. fruits

Bacchus with two puttos. 1501 - 1600. Bonasone, Giulio, approximately 1498-approximately 1580. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Speculum Romanae Magnificentiae: Dance of Fauns and Bacchants early 16th century Anonymous This print comes from the museums copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title ‘Speculum Romanae Magnificentiae first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Ins

Rudolf II of Habsburg (German Emperor), Matham, Jacob, Schrevelius, Theodorus, Moreelse, Paulus, Haarlem, Venus and Mars discovered by Apollo, verso lower left - stamped, Mars and Venus are both undressed. Mars by Amor and Venus by one of her nymphs and by putti. The draperies of a large canopy bed are held open. On the right, however, Apollo appears in the guise of sunbeams. On the right in the foreground the armor of Mars., print, prints, height 307 mm, width 389 mm, Noord-Nederlands, 1571-10-15 - 1631-01-20, print maker, printmaker, 1607 - 1607, paper, papier, engraving, engraving (printing process), Work conception, 1571 - 1638-03-19, after a design by, 1572 - 1653-12-02, writer, Publication (Event), Publication, publisher, uitgever, 1552-07-18 - 1612-01-20, verlener van privilege

Expulsion from Paradise, Johann Sadeler (I), After Crispijn van de Passe (I), 1639 print Adam and Eva cover their nudity while they are driven out of the Earth Paradise by the angel with the flaming sword. The snake crawls next to them. Different animals in the background. print maker: Antwerppublisher: Amsterdam paper engraving animals. an angel chases Adam and Eve out of paradise with a (flaming) sword. the snake is cursed by God, and condemned to eat dust and to crawl on its belly

Diana in Actaeon, 1586 - 1629 print Diana and her nymphs have undressed because they are bathing. A few of them look back frightened, where Actaeon with its two dogs has turned up unexpectedly. Under the performance an eighable, Latin text about the scene and a one -line assignment in Latin. paper engraving Actaeon changed into a stag: as punishment for seeing her bathe, Diana changes Actaeon, the hunter, into a stag (Ovid, Metamorphoses III 193) (+ variant)

Rome, Salamanca, Antonio, Vatican City, Michelangelo, Italy, Casa, Nicolò della, The Last Judgement, verso - stamped, A detail from the fresco 'The Last Judgement' by Michelangelo in the Sistine Chapel., print, prent, prints, height 430 mm, width 545 mm, print maker, printmaker, 1548 - 1548, paper, papier, engraving, engraving (printing process), Italian, 1475-03-06 - 1564-02-18, after a painting by, Publication (Event), Publication, 1478 - 1562, publisher

Fighting putti, Peter van Lint, 1619 - 1690.

Frisian with young soldier, old man and woman between weapons; Figures between weapons and vases ..

Simson beats the Philistines with a donkey jaw, Cornelis Massijs, 1562 print Simson kills the Philistines with the jawbone of a donkey. In the background, water flows from the donkey jaw, of which Simson drinks. (The right reading is God in the bowl of the valley near Lechi let the earth burst open. Water came out and Simson drank it, so that he came up completely again.) Antwerp paper engraving with an ass's jaw-bone Samson slays a thousand Philistines

Fortune Dividing her Gifts. Fate, goddess of fortune, hovers above the scene, distributing riches - or withholding them - for reasons that are not entirely clear. Some people get so much, others nothing. A few people manage to scramble forward and grab the falling coins, shoving others out of the way. But if you are standing in the wrong place, you really have no chance.

. Silenus is pushed by Saters and Maaaden with cymbals. Two putti drink from the breasts of a naked woman.

Simson beats the Philistines with a donkey jaw; History of Simson. Simson strikes the Philistines die with the jawbone of a donkey. In the background, water flows out of the donkey finger, of which Simson drinks.

Jan Harmensz Muller, A Satyr Pulling a Thorn out of the Foot of a Faun, engraving on paper.

Many deities gather to be present when Aphrodite is born from the sea-foam off the Cyprus coast, originating in the severed genitals of the castrated god Uranos

Envy or Avarice at the right being driven from the temple of the Muses by Hercules who raises a club, the muses watching from the left. Artist: Master of the Die (Italian, active Rome, ca. 1530-60); After Baldassare Tommaso Peruzzi (Italian, Ancaiano 1481-1536 Rome); After Ugo da Carpi (Italian, Carpi ca. 1480-1532 Bologna). Dimensions: Sheet: 10 1/16 × 7 1/16 in. (25.6 × 18 cm). Publisher: Philippe Thomassin (French, Troyes 1562-1622 Rome). Date: 1530-60. Museum: Metropolitan Museum of Art, New York, USA.

Adam en Eva bewenen Abel, Nicolas Beatrizet (attributed to), 1525 - 1565 print Adam and Eva are bent over the dead body of Abel. In the background Cain who kills Abel. Italy paper etching / engraving Adam and Eve discover the dead body of Abel and grieve over it. Abel's death

Clair-obscur woodcut by Niccolò Boldrini, second third of the 16th century, depicting agricultural harvest activities, illustrating daily life and rural labor.

Juan Barcelon copper engraving and etching depicting Hercules killing Geryones, illustrating the mythological battle scene.

Allegorical depiction of the European continent ravaged by the Thirty Years' War. At the center is Venus, the goddess of love, who tries to stop her lover Mars, the god of war, and keep the peace. The fury Alecto tries to pull Mars along. Around it various personifications, including Harmony, Plague and Famine. In the background on the left, the Temple of Janus with its door open (in ancient Rome, the closed door of the Temple of Janus symbolized peace and an open door symbolized war), Consequences of War Gli effetti della guerra , print maker: Luigi Paradisi, (mentioned on object), intermediary draughtsman: Antonio Muzzi, (mentioned on object), after: Peter Paul Rubens, (mentioned on object), Italy, in or before 1893, paper, engraving, etching, h 277 mm × w 381 mm

Michel Dorigny, Pan and Syrinx Pan and Syrinx

Peter Paul Rubens (and workshop); José Jorro (Lithographer); José de Madrazo y Agudo (Director); Real Establecimiento Litográfico de Madrid (Printer) / 'The Rape of Hippodamia'. 1832 - 1837. Lithographic aquatint, Crayon lithography, Pen lithography, Printing on japon, Scraper on wove paper. Museum: Museo del Prado, Madrid, España.

Parmigianino, The Flaying of Marsyas, 1526 1530 The Flaying of Marsyas

Three putti and an ostrich; Pope tapers; Tapezzer the dad. There is a putto on an ostrich for a large guirland. Another putto holds the paw of the ostrich and gives a fruit to the putto that is on the bird. A third putto carries a transit and pulls a feather from the tail of the bird.

Amsterdam, Visscher, Claes Jansz. (II), Broeck, Crispijn van den, Sadeler, Johann (I), Theatrum Biblicum Hoc Est Historiae Sacrae Veteris et Novi Testamenti Tabulis Aeneis Expressae, Creation and Fall, Expulsion from Paradise, Adam and Eve are expelled from paradise by an angel with a flaming sword. The snake crawls next to them. On the right in the background a lion and a deer. At the bottom a reference to the Bible text in Latin. This print is part of an album., print, album sheet, prints, height 200 mm, width 270 mm, Southern Netherlands, 1550 - 1600-08, print maker, printmaker, 1643 - 1643, paper, engraving, engraving (printing process), Work conception, 1524 - 1591, after a design by, Publication (Event), Publication, Northern Netherlands, 1586 - 1652-06-19, publisher

Bacchanal with Silenus; a frieze composition with ten figures around Silenus who is carried by two satyrs before 1475 Andrea Mantegna Italian While the precise meaning of Mantegna's Bacchanals has eluded scholars, the most decisive event occurring in each is a coronationan act that, by Mantegna's time, was often linked with the recognition of poetic gifts. In this engraving, the figure being crowned is clearly Silenus, the tutor of Bacchus, known for his wisdom as well as his drunkenness. In representing Silenus, any artist living in Mantua, the city of Virgil's birth, would have had in mind the poet's sixth Eclogue, in which Silenus is roused from drunken sleep by two satyrs and a nymph, bound with his own garlands, and forced to sing. His song of the creation and the ways of nature incited the fauns and wild beasts to move in a stately dance.. Bacchanal with Silenus; a frieze composition with ten figures around Silenus who is carried by two satyrs 361898

Frisian with the punishment of Niobe (plate 3), Jan Saenredam, After Polidoro da Caravaggio, After Hendrick Goltzius, 1596 - 1652 print The goddess Latona complains to her two children, Apollo and Diana who then avenge her honor by killing the fourteen children of Niobe with arrows. The print has a Latin caption. Left plate of a print with a Frisian from eight plates. paper engraving Latona entreats her children Apollo and Diana to punish Niobe

Italy, Fiorentino, Rosso, Vico, Enea, Battle of the Lapiths and Centaurs, Abduction of a woman by a man and a satyr, recto attachment sheet - handwritten in brown ink, In the middle a woman is abducted by a man and a satyr. On the right several figures around a table. In the foreground a man has drawn his sword, and behind the table a man waves a dagger. On the left two horses., print, engraving, prints, engravings, verso attachment sheet - stamped, Rafael Urbinas pinx. Marcus Antonius scul., height 284 mm, width 423 mm, print maker, 1542 - 1542, paper, engraving (printing process), Work conception, Italian, 1523 - 1567, after a print by, 1494-03-08 - 1541-11-14

The Flaying ofMarsyas. Artist: Melchior Meier, German, ac. Tuscany, ac. ca. 1572-1582

Venus and Mars caught adultery, Jan Collaert (II), After Philips Galle, 1576 - 1628 print Oval list of Venus and Mars, naked in bed, surrounded by the other gods. Vulcanus has caught them in the Iron Net. Cupido pushes the bed curtain away. The print has a Latin caption. The print is part of a series about Venus and Mars Antwerp paper engraving Mars and Venus, caught in a net by Vulcan, are exposed to the ridicule of the assembled gods

The Arrival of the Wine Vat. Artist: Joseph Marie Vien (French, Montpellier 1716-1809 Paris). Dimensions: sheet: 7 1/16 x 17 3/8 in. (18 x 44.2 cm)image: 6 1/4 x 16 3/4 in. (15.8 x 42.5 cm). Date: ca.1755. Museum: Metropolitan Museum of Art, New York, USA.

Abduction of Proserpine n.d. Albrecht Dürer German. Abduction of Proserpine 359854

Italy, Michelangelo, Veneziano, Agostino, Battle of Cascina, verso - stamped, Scene from the Battle of Cascina between Florence and Pisa. Florentine soldiers have bathed naked in a river and are hastily dressing again because of the suddenly approaching army of Pisa. At bottom center the arms of a soldier are visible pulling himself up on the bank. On the left in the background a drummer and two soldiers., print, prent, prints, prenten, height 328 mm, width 440 mm, print maker, prentmaker, 1524 - 1524, paper, papier, engraving, engraving (printing process), etching, Work conception, Italian, 1490 - 1536, after print by, 1475-03-06 - 1564-02-18, intermediary draughtsman

Agostino Carracci, Pan Taming Eros, 1599, Engraving on paper.

Nessus is hit by the Gifspijl van Hercules, Cornelis Schut (I), 1618 - 1655 print A river god watches how Nessus tries to remove the poison arrow from Hercules from his back. Deïanira is sitting on his back. Hercules is in the background, his bow is still in the hand. print maker: ItalySouthern Netherlands paper etching / engraving Hercules shoots Nessus, the centaur, who attempts to carry off Deianira. river-gods

Fries met acht bacchanten.Frisian with eight drunk children. Of the three children with the drinking bowl in the middle, the child turns Bacchus on the right. A wine barrel in the background.

Bacchus and hisentourage. Artist: Pierre Brebiette, French, 1598-1650

Cain kills Abel. Cain is about to kill Abel with a donkey bonebone. In the background two sacrifices: Abel's sacrifice is approved by God (the smoke rises up), the sacrifice of Cain is rejected (the smoke knocks down). In the margin a two-legged caption in Latin that refers to the proposed.

Night Protecting Sleeping Time from the Last Rays of the Sun 1544 Antonio Fantuzzi Italian. Night Protecting Sleeping Time from the Last Rays of the Sun 336759

River god and the wolf, Lucas van Haelwech, after Hendrick Goltzius, 1599, draughtsman: Lucas van Haelwech, Hendrick Goltzius, 1599, paper, pen, h 203 mm × w 300 mm

Establishment of the copper snake, anonymous, c. 1550 - c. 1599 drawing Low Countries paper. paint (coating). ink pen / brush the brazen serpent (Numbers 21:4-9)

. Mercury and Venus embrace each other. Behind Venus Amor stands with an arrow in his hand. A putto tackles Mercury's caduceus. Two pigeons at the Bow of Amor in the foreground.

The Fall of Man. Crispijn van den Broeck (Flemish, 1524 - about 1591)

Figure on Seagoat; Man Carving Wing published ca. 1599-1622 Engraved by Anonymous, Italian, 16th century Italian. Figure on Seagoat; Man Carving Wing 371869

Adam and Eve after Their Expulsion with the Infants Cain and Abel 1639-97 Giovanni Andrea Carlone Italian. Adam and Eve after Their Expulsion with the Infants Cain and Abel 338398

Strooming Putti, Anonymous, After Louis Testelin, 1673 - 1709 print Putti fry together on a tree -rich hill. Two winged putti hold a banderole with the names of the manufacturers. print maker: Low Countriesafter design by: Parispublisher: Amsterdam paper etching cupids: 'amores', 'amoretti', 'putti'. playing in the woods

Triomf Van Bacchus, Giulio Bonasone, after Perino del Vaga, 1501 - 1580 print Bacchanten procession to the right. Bacchus sitting on a car that is pulled by four lions. Behind Bacchus there are two saters and a putto floats. On the right two baccians. In the background Silenus on a donkey. paper engraving Triumph of Bacchus; "Carro di Bercco '(Ripa). (Story of) Silenus

Education of Adonis, Philips Galle, After Anthonie Blocklandt, c. 1577 - c. 1581 print The child Adonis is raised by the Min Lucina and the Naiaden. They stand around the baby and apply water. The print has a Latin caption and is part of a series about Adonis' Life. print maker: Antwerpafter design by: Utrecht paper engraving birth of Adonis: the tree splits open to release the baby; the Naiads take care of him

Pieter van Sompel, Ixion Deceived by Juno, 17th century Ixion Deceived by Juno

Primaticcio, Francesco, Fontainebleau, Fantuzzi, Antonio, Jason ploughs the field where he has sown dragon's teeth, verso - stamped, Jason ploughs a field with the help of two tamed oxen. He has sown dragon's teeth in the field. These dragon's teeth have turned into soldiers that are now crawling out of the ground., print, prent, prints, prenten, height 213 mm, width 263 mm, Italian, print maker, prentmaker, 1544 - 1544, second quarter 16th century, paper, papier, etching, etsen, Work conception, 1504-04-30 - 1570-09-14

Naked man chases a Naiade. A naked man with a cape chases a fleeing naiade and a young winged Naiade. A tree in the background.

De nacht.Night sculpture, a lying sleeping naked woman, with a strict strict under which an owl is sitting. Under the arm a mask. At her feet a sleeping child. To the image of Michelangelo of approx. 1526-1531 for the Giuliano's grave monument The 'Medici in the San Lorenzo (Sint-Laurenbasiliek) in Florence.

Playing putti at a fountain, anonymous, after Cornelis Schut (i), 1618 - 1705 print A group of eight putti plays for a fountain. The putto on the left holds two sticks and the putto next to him is blindfolded. On the right is a putto with a tambourine. In front is toys on the floor. print maker: Low Countriesafter design by: Antwerp paper etching cupids: 'amores', 'amoretti', 'putti'. children's games and plays. tambourine - CC - out of doors. garden fountain

Charity 1530-76 Lambert Suavius Netherlandish. Charity. Lambert Suavius (Netherlandish, ca. 1510-by 1576). 1530-76. Engraving; first state. Prints

Lot and his daughters, Jan Harmensz. Muller, 1630 - 1656 print Lot sits in a cave with his daughters and is drunk drunk. In the background the burning cities Sodom and Gomorra and the wife of Lot as a salt pillar. At the bottom of the margin, three two -line verses in Latin over the show. paper engraving Lot and his daughters (Genesis 19:30-38)

Where is mother going. Francisco Goya y Lucientes (Spain, Fuendetodos, 1746-1828). Spain, 1799. Prints; etchings. Etching, aquatint and drypoint

Venus with Amor and Jupiter with ganymedes. In the foreground Venus is located with the sleeping amor between her legs. Left the three gratients, one with a flute in the hands. In the air left Mercury, in the middle Jupiter in the form of an eagle with ganymedes on the back and right Phaëthon that falls from his car through the lightning bolt of Jupiter.

Cupid with Weapons of Mars ca. 1547-62 Adamo (Ghisi) Scultori Italian The union between Venus, goddess of love, and Mars, god of war, was often understood as emblematic of love's power to calm the aggressive spirit. In 'De rerum natura' (On the Nature of Things, 1.29-40) of 55 B.C., Lucretius called on Venus to seduce Mars and bring peace to the Romans. Scultori's image suggests that she has done so. While his parents are occupied, Cupid carries off the heavy shield and sword of Mars, ensuring love's victory over war.. Cupid with Weapons of Mars 361888

Rome, Lafreri, Antonio, Italy, Raphael, Martini, Giovanni, Master of the Dobbelsteen, Tapezzerie de Papa, Tapestries of the Pope, Three putti and a child with a garland, verso - stamped, In front of a large garland a putto lifts a child. Behind the garland two putti with bows and arrows. In the sky three birds and in the foreground a dog., print, prints, height 209 mm, width 286 mm, Italian, German, print maker, printmaker, 1530 - 1560, paper, engraving, engraving (printing process), Work conception, 1470 - 1535, after a design by, 1483-04-07 - 1520-04-07, Publication (Event), Publication, 1512 - 1577, publisher

A brush and sloke drawing by Jan Nagel depicting the Fall, with the creation of Eve on the left, using brown and olive tones with white highlights on brownish paper.

Father time reveals the truth. The personification of the truth is on the floor and leans on a tree. Father time pulls a cloth that covered her body aside. Two putti with a zeis and an hourglass help him.

Dawn; Charles Le Brun (French, 1619 - 1690); France, Europe; about 1635 - 1642; Black chalk, incised for transfer; 17 × 22.1 cm (6 11,16 × 8 11,16 in.)

Aeneas and his family flee from Troy, master of the dice, after Rafaël, c. 1530 - c. 1560 print Aeneas walks on the back with his father Anchises. In his right hand, Anchises wears the house gods (Penates). His son Ascanius walks behind Aeneas. The burning Troy in the background. Italy paper engraving 'Pius Aeneas': Aeneas, leading Ascanius, escapes from burning Troy, carrying his father Anchises with the Penates; his wife Creusa, who sets out with them, is lost on the way

Angels in glory. A group of floating putti, surrounded by clouds.

Venus and Cupid; Sine Cerere et Baccho Friget Venus. Round representation of Venus and Cupid at a tree. Venus has a bunch of grapes in hand, Cupid gives her a bundle grain. In the background Ceres in the middle of grain harvesters and Bacchus amid from grape pickers. Around the show an empty margin, intended for a peripheral.

Apollo en Diana doden de kinderen van Niobe; Het leven van Niobe.Apollo and Diana, both with arrow and bow, kill the children of Niobe. Different children are dead on the ground, trying to flee others. Niobe is on the right.

Bacchanal with Silenus. Dated: c. 1475/1480. Dimensions: sheet: 31.1 x 46 cm (12 1/4 x 18 1/8 in.). Medium: engraving. Museum: National Gallery of Art, Washington DC. Author: Andrea Mantegna.

Copper engraving by Andrea Mantegna depicting the right section of a frieze showing the fighting of the Mine gods, created in the second half of the 1480s.

Italy, Bonasone, Giulio, Perino del Vaga, Triumph of Bacchus, recto lower right - handwritten in brown ink, Procession of Bacchantes to the right. Bacchus seated on a chariot drawn by four lions. Behind Bacchus are two satyrs and a putto is floating. On the right are two Bacchantes. In the background Silenus on a donkey., print, prints, verso - stamped, I. Bonasone, height 138 mm, width 220 mm, Italian, 1510 - 1576, print maker, printmaker, 1501 - 1580, paper, engraving, engraving (printing process), Work conception, 1501 - 1547-10-19, after a design by

Four small boys and a goat (copy in reverse) 17th century () Copy after Wenceslaus Hollar Bohemian. Four small boys and a goat (copy in reverse) 361710

Drunken Silenus. Jusepe de Ribera; Spanish, 1588-1652. Date: 1628. Dimensions: 275 x 357 mm. Etching on ivory laid paper. Origin: Spain. Museum: The Chicago Art Institute, Chicago, USA. Author: Jusepe de Ribera.

Dancing Maenade a Saters, Agostino Veneziano, After Rafaël, 1516 print A Maenade and two saters walk to the right dancing. In the middle a maenade with two tambourines. On the left a saat with pan flute, on the right a saat with double horn. paper engraving Satyrs, Faun, Silen. Maenad (s), female Bacchant (es). flute, tribes. dancing. Horn, Trumpet, Cornet, Trombone, Trumpet

. Offering the thebans to Niobe. At the bottom right a horizontal woman with the cornucopia. The print has a Latin caption. Extremely straight rocket from a print with a frieze from eight plates

Etching by Hans Lautensack showing seven children playing, depicting figures, gestures, and interactions, created in 1552.

Entombment of Christ, late 1500s-early 1600s. Giuseppe Scolari (Italian). Woodcut on two sheets of joined paper; sheet: 68 x 43.8 cm (26 3/4 x 17 1/4 in.); image: 67.4 x 43.4 cm (26 9/16 x 17 1/16 in.).

An oreade, wearing glasses, removes a thorn from the foot of a satyr. The satyr is supported by a female and a young oreade. Below in the margin a two-line text in Latin., Oreads remove a thorn from the foot of a satyr, print maker: Jan Harmensz. Muller, (mentioned on object), Bartholomeus Spranger, (mentioned on object), publisher: Clement de Jonghe, (mentioned on object), Amsterdam, 1640 - 1670, paper, engraving, h 270 mm × w 209 mm

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