Architectural Prints of Rome

Detailed prints showcasing Roman architecture, including arches and monuments, with a classical aesthetic and historical context.

Gedenk-boog, ter begraaf-plaats der uitgeteerde actionisten Arc memorial dressé au lieu de l'enterrement des actionistes consumés. 1720. Anonymous. Prints, Caricatures. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. South Sea Bubble, Great Britain, 1720, Political satire

Speculum Romanae Magnificentiae: The Arch of Constantine, Rome ca. 1514-36 Attributed to Agostino Veneziano (Agostino dei Musi) Italian 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 o

Arcadian landscape with shepherds at a sculpture colonnade. .

The Adoration of the Kings. Medium: etching. Museum: National Gallery of Art, Washington DC. Author: Henri Mauperche.

Gedenk-boog, ter begraaf-plaats der uitgeteerde actionisten Arc memorial dressé au lieu de l'enterrement des actionistes consumés. 1720. Anonymous. Prints, Caricatures. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. South Sea Bubble, Great Britain, 1720, Political satire

. Landscape with in the foreground two ornamental fountains and a statue of a man and a woman. In the background water and a palace on the other side. To the painted wall panel in the hall of the house of Koopman David Bueno de Mesquita.

Garden with Chteau d'eau with fountains; Fountains and gardens with mythological representations. On the left in the foreground, the daughters of Cecrops open the coffin in which Erichtonius was stopped at the bottom of two lines of text. Leaf 4 from series of 6.

Triumphoort with severity that Belgium saves from Discordia, 1594. Triomf gate with an image of the Archduke Ernst that rescues the Netherlands (Belgica) from the discord (Discordia). Festive arrival of Aartshertog Ernst as Governor of the Netherlands held in Brussels on January 30, 1594. Part of the description of this entry Descriptio et Explicatio Pegmatum, Arcuum Spectaculum Quae Bruxellae Brabant. Pridie Cal. Feb. Ao. 1594 EXHIBITA FUere, sub Ingressum ... Ernesti ... Archiducis Austriae ... Pro Philippo II. Belgicae Ditionis Gubernatore, J. Mommaert, Brussels 1594.

Der Nuttiges, en Nuttelooge Koopman Openbaring XVIII:-2 De Kooplieden der Aarden zullen weene en Rouw maaken over haar om dat nimant haare waaren meer koopt The useful and the useless merchants. 1720. Prints, Caricatures. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection. South Sea Bubble, Great Britain, 1720, Political satire

Allegorical performance with piety or belief; Title page for: J. HEVEY, godly reflections, under the viewing of the burial cities, 1754 .. A woman with passer on the head takes a figure at hand and shows her an allegorical figure with flame on the head (possibly piety or belief). In the background an interior with balcony and seeing through towards a garden.

The perspective of the house of Mr. Fieubet.

Lens, Abraham Bosse, 1637 print paper etching / engraving year divided into four seasons. spring, 'Ver'; 'Primavera' (Ripa). cut flowers; nosegay, bunch of flowers. loggia, verandah, porch. couple of lovers. cupids: 'amores', 'amoretti', 'putti'

. The renaissancistic interior of the Levi's House the Tollenaar. In the foreground a staircase with eating guests. The print has a Latin caption. Left plate from a print with a representation from three plates. To the painting by Paolo Veronese from 1573 in the Academia, Venice.

Triumph gate with the Stedensmaag, 1594, 1594 TriomfPOORT met de Stedenmaagd van Brussel en twee Heiligen. Feestelijke species van AartShertog Ernst Als Gouverneur der Nederlanden Gehouden te Brussel op 30 January 1594. Onderdeel van de Beschrijving van deze intocht description and explanation of pegmatum, arcs which are Bruxel Brabant. The day before Cal. February. Ao. 1594 exhibited under the entry ... Ernest ... Archdiducis Austria ... for Philip 2. Belgian died Pilot J. Mommaert, Brussels 1594. genummerd: 9. print maker: Southern Netherlandspublisher: Brussels paper engraving Brussels TriomfPOORT met de Stedenmaagd van Brussel en twee Heiligen. Feestelijke species van AartShertog Ernst Als Gouverneur der Nederlanden Gehouden te Brussel op 30 January 1594. Onderdeel van de Beschrijving van deze intocht description and explanation of pegmatum, arcs which are Bruxel Brabant. The day before Cal. February. Ao. 1594 exhibited under the entry ... Ernest ... Archdiducis Austria ... for Ph

Two gates, Jan van Vianen, 1697 print Two gates above each other; For the top two putti one with memorial topen; For the bottom a reading putto. At the top left: P. 1701. Northern Netherlands paper etching / engraving gate, entrance. Cupids: 'Amores', 'Amoretti', 'Putti'

Plate 40: Design for festival architecture honoring the Spanish Prince Ferdinand's triumphal entry into the city of Ghent, January 28, 1635; from Guillielmus Becanus's 'Serenissimi Principis Ferdinandi, Hispaniarum Infantis...'. Dimensions: Sheet (Trimmed): 17 11/16 × 12 7/8 in. (45 × 32.7 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 Metropolit

Giuseppe Vasi, after Giuseppe Palazzi, after Paolo Posi, The Prima Macchina for the Chinea of 1762 The Farnese Bull and Other Antiquities from Palazzo Farnese, 1762 The Prima Macchina for the Chinea of 1762: The Farnese Bull and Other Antiquities from Palazzo Farnese

Graftombe of Willem I, Prince of Orange, 1623, Jan Luyken, 1730 print Graftombe or Praalgraf from Willem I in the Nieuwe Kerk in Delft, completed in 1623. Seen from the front with the image of the sitting prince. With visitors around the fence. At the top left 'Tom: I. No. 21. ''. print maker: Northern Netherlandspublisher: Amsterdam paper etching grave-building, monumental tomb. interior of church. historical persons New church. Delft

Speculum Romanae Magnificentiae: Temple of Antoninus and Faustina 16th century Attributed to Agostino Veneziano (Agostino dei Musi) Italian 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 ha

Zuilengalerij around a basin with two standing artists and a pilgrim, Virgilius Solis, 1550 - 1562 print Nuremberg paper etching pilgrim(s). draughtsman at work - CC - out of doors. gallery (spacious corridor). piece of sculpture, reproduction of a piece of sculpture. draughtsman studying classical remains - CC - out of doors

The martyrdom of Jakobus De Lessere, Jacques Callot, 1632 - 1634 print James the lesser is beaten to death by men with clubs. Above this scene, James is depicted the lesser again, on a cloud in heaven, a bat in his hand. Under the performance a caption in Latin. This print is part of a series of 16 prints, consisting of a title page and 15 performances of the tortures that the apostles have undergone. Nancy paper etching James is stoned, or beaten to death (with a fuller's club). the apostle James the Less, first bishop of Jerusalem; possible attributes: book, fuller's club, scroll - martyrdom, suffering, misfortune, death of male saint

Arcadian landscape with men and women at a temple. .

Alcove with variant for right half; Alkoven. Isaac blessed Jacob Links.

Italy, Venice, Sketch for the scenic design by Francesco Bagnara (1784-1866), scene two of The Marriage of Figaro or the Day of Madness (Le nozze di Figaro, ossia la folle giornata, 1786) by Wolfgang Amadeus Mozart (1756-1791), performed at Teatro La Fenice in Venice

The burial monument of Francesco Algarotti in the Campo Santo in Pisa, 1769 print Francesco Algarotti (1712-1764) was artificial authority and client, scientist and theoreticist. When he was sick and felt his death approaching, he ordered his friend Mauro Tesi to design a burial monument for him. The architect Carlo Bianconi was asked to implement the design. It was founded in the Camposanto in Pisa where it is still located. On the print it is admired by a group of ladies and gentlemen. A beggar on the stairs of the monument. paper etching epitaph. beggar Pisa. Holy camp

Interior of temple in circular form dome supported by columns and decorated with sculptural centerpiece, griffons in front and statues between the columns. Pen and brown ink, brush and brown wash on lined off-white laid paper. Date: 1796-1801. Museum: Cooper Hewitt, Smithsonian Design Museum.

Funeral service for Emperor Matthias, Gerard ter Borch (II), after Jacques Callot, c. 1619 - 1620, Funeral service for Emperor Matthias, died 20 March 1619, funeral service held in the San Lorenzo at Florence., draughtsman: Gerard ter Borch (II), Jacques Callot, Zwolle, (possibly), c. 1619 - 1620, parchment (animal material), h 266 mm × w 210 mm, h 282 mm × w 221 mm

. In the foreground the temple with the Trojan cult image of Minerva (palladium). In the background a face on the city. In the margin the title in French, English, German and Dutch. The show is decorated with an ornamental edge.

. Allegory on the creation of the Orangistic Society The sincere Patriotic Society in Rotterdam, 7 or 18 January 1787. Interior with men sitting around a table, on the walls performances of the Union of Utrecht (1579) and the Dordtse Synod (1618-1619) . In the foreground, father takes time up the curtain and reveals images of religion, freedom and Hercules that beats the Hydra. In the background the portrait of Prince Willem v on the wall of a next room.

Designs for two sarcophagi, draughtsman: Gilles Marie Oppenort, (possibly), 1682 - 1742, paper, h 162 mm × w 229 mm

Imperial Court, Germany, Cuvilliés, François de (Sr.), Rösch, Georg Sigmund, 1r Livre A Morceaux de Caprice propres à divers usages, Fountains, Fountain with man and putti, verso - stamped, A fountain with a seated man with bags, putti, fruit and a smoking barrel at the top. In the foreground on the left are a shield, flags and weapons. On the right in the background a round arch with columns and an obelisk., print, ornamental print, prints, ornamental prints, height 357 mm, width 236 mm, German - 1766, print maker, printmaker, 1745 - 1745, paper, papier, etching, etchings, engraving, engraving (printing process), Work conception, 1695 - 1768-04-14, after a design by, granter of privilege

Triumph arch of Florence (front), 1594, 1594 - 1595 Triomfboog van Florence (Voorzijde), 1594. Opgericht in the Lange Nieuwstraat. Onderdeel Van de Beschrijving van de species van aartshertog Ernst Antwerp, 18 July 1594, Door John Boche, description of the public congratulation, spectacles and games in the arrival sereniss. Prince Ernest archiducis Austria, Ex Plantiniana, Antwerp 1595. print maker: Southern Netherlandspublisher: Antwerp paper etching Florence. Antwerp Triomfboog van Florence (Voorzijde), 1594. Opgericht in the Lange Nieuwstraat. Onderdeel Van de Beschrijving van de species van aartshertog Ernst Antwerp, 18 July 1594, Door John Boche, description of the public congratulation, spectacles and games in the arrival sereniss. Prince Ernest archiducis Austria, Ex Plantiniana, Antwerp 1595. print maker: Southern Netherlandspublisher: Antwerp paper etching Florence. Antwerp

The Triumph of Austria; Leopold I at center, mounted on a reared horse, atop a military trophy; surrounded by equestrian portraits of the Holy Roman Emperors; set design from 'Il Pomo D'Oro' 1668 Mathäus Küsel The first of the twenty-three stage sets designed by Lodovico Burnacini for 'Il Pomo D'Oro, Festa Teatrale Rappresentata in Vienna Per L'Augustissime Nozze Delle Sacre Cesaree E Reali Maestà Di Leopoldo E Margherita', an opera celebrating the wedding of Emperor Leopold I and Margarita Teresa of Spain in 1666. Composed by Antonio Cesti with a libretto by Francesco Sbarra, it was first performed in July 1668 at the Theater auf der Cortinaalso designed by Burnacini.. The Triumph of Austria; Leopold I at center, mounted on a reared horse, atop a military trophy; surrounded by equestrian portraits of the Holy Roman Emperors; set design from 'Il Pomo D'Oro'. Mathäus Küsel (German, 1621-1682). 1668. Etching

Print, Plate in Nouveaux livres de peintures de salles et descaliers (New Books on Paintings for Rooms and Stairs); Designed by Daniel Marot (French, active in the Netherlands and England, 1661-1752); Netherlands; etching and engraving on white laid paper; Sheet: 35 x 23.5 cm (13 3/4 x 9 1/4 in.) Platemark: 28.7 x 20.3 cm (11 5/16 in. x 8 in.)

Jacques Callot, Thadaei Appos., 1632, etching on paper.

Fireworks in The Hague, in honor of peace with France, 1713, Fireworks at the pond in front of the meeting room of the States General in The Hague, organized by the States General on the occasion of the peace with the king of France, closed in Utrecht on April 11, 1713. In the margin two columns with text, left in Dutch and right in French., bonfire, fire-works - AA - festivities on the water (illumination, fire-works, festive activities), The Hague, Jacob Keyser (mentioned on object), Amsterdam, 1713 - 1718, paper, etching, h 261 mm × w 358 mm

Neptune's water cave in the French garden of Huis ter Meer. In the foreground and near the cave are groups of conversing figures. The print is one of a series of 26 views of Huis ter Meer and its estate at Maarssen, The water grotto of Neptune in the garden of Huis ter Meer at Maarssen. View of the great water grotto of Neptune with its seahorses / Vue de la grande grote d'Eau, de Neptune & de ses cheveaux marins Het Oud Adelyk huys en Ridderhofstad Ter Meer (series title), print maker: Hendrik de Leth, publisher: Hendrik de Leth, c. 1740, paper, etching, h 157 mm × w 200 mm

. View in a garden flanked by columns. Two dogs in the foreground. In the background sitting figures and a figure on the back at a water basin.

La Colonade. Medium: etching and engraving. Museum: National Gallery of Art, Washington DC. Author: Jean-Baptiste Rigaud.

Chapel of the Cross (Cappella della Croce). Dated: 1612. Dimensions: book: 43.3 × 30 × 1.8 cm (17 1/16 × 11 13/16 × 11/16 in.). Medium: 1 engraved illustration. Museum: National Gallery of Art, Washington DC. Author: Lino Moroni.

Fountain turned to the left; Fonteines et cuuettes. The fountain is decorated with a Frisian of Putti playing with a sea monster, next to it figures.

. The gate of the disciplinary or rasphuis on the Holyweg in Amsterdam. The gate is awarded by the Amsterdam city mission as the personification of disciplination with a whip and the Amsterdam city weapon in her hands. It is flanked by two floured nudist figures. Through the gate a man is led into the disciplinary house by two other men.

Buitenpoort of the Disciplinary or Rasphuis in Amsterdam, J. Mijling, After Jacobus Versteegen, 1750 - 1800 print The gate of the disciplinary or rasphuis on the Heiligeweg in Amsterdam. The gate is awarded by the Amsterdam city of Amsterdam as the personification of the discipline with a whip and the Amsterdam city coat of arms in her hands. She is flanked by two fascinated nude figures. Through the gate a man is led into the disciplinary house by two other men. Amsterdam paper etching gate, entrance. Punishment; 'Castigo', 'Pena', 'Punitione' (Ripa) Rasphuis

Paris, Mariette, Pierre (II), Lepautre, Jean, Desseins De lambris à l'Italienne, Gallery of a palace with a chandelier, Gallery in a palace with various figures. A chandelier hangs from the ceiling. Print is part of an album., print, ornamental print, album page, prints, height 225 mm, width 152 mm, French, 1618-06-28 - 1682-02-02, print maker, printmaker, 1659 - 1659, paper, papier, etching, etchings, Work conception, after own design by, Publication (Event), Publication, 1634 - 1716, publisher

Giuseppe Vasi, after Paolo Posi, The Seconda Macchina for the Chinea of 1754 An Allegory of Waterworks, 1754 The Seconda Macchina for the Chinea of 1754: An Allegory of Waterworks

Book containing the views and prospects of the Chapel and House of Sorbonne, 5th arrondissement, Paris. (Dummy title) Israel Silvestre (1621-1664), Stefano della Bella, said of the Belle Etienne (1610-1664), Jean Marot (1619-1679) and Israel Henriet (1590-1661). "Book containing the views and perspectives of the Chapel and House of Sorbonne, Paris. (Fifth arrest)". Forter, 1649-1649.

Landscape with classical images and buildings; Room pieces in the house of Mr Mesquita; Room stucco in 't Huys van de Hr. D.B. Mezquita. Landscape with the remnant of a round classic temple left and right a sculpture. In the foreground a figure wades through the water, three figures are met on the side. In the background a triumphal arch and a ship to the quay. To the painted wall panel in the hall of the house of Koopman David Bueno de Mesquita.

Stefano Della Bella, Prince Cosimo de'Medici Drawing the Medici Vase at the Villa Medici in Rome, 1656, etching on grayish-blue laid paper.

Hubert Robert (French, 1733 - 1808). The Stairway with Four Posts, 1763-1764. From Evenings in Rome (Les Soirées de Rome). Etching on laid paper. Plate: 137 mm x 94 mm (5.39 in. x 3.7 in.). Second of three states.

Antwerp, Quellinus, Erasmus (I), Causé, Hendrik, Paintings on the east side, Sint Michielsabdij Antwerp, verso - stamped, View of the paintings on the east side of the church of the Sint Michielsabdij in Antwerp. Christ is in the house of the Pharisee Simon where a woman washes his feet with her tears and then dries them with her hair., print, prent, prints, height 308 mm, width 162 mm, 1648 - 1699-05, print maker, printmaker, 1699 - 1699, paper, papier, etching, etchings, engraving, engraving (printing process), 1584 - 1640

A drawing by Michael Ribestein on gray tinted paper depicting Passion scenes including Ecce Homo, flagellation, and Pilate washing hands, after 1537.

Park landscape with two sphinxes. View in a garden with left and right in the foreground Ornamental fountains with water-pushing sphinxes and trees behind it. A pond behind the balustrade.

Monument in a landscape. Landscape with a monument consisting of a sarcophagus surrounded by four columns. Right two figures.

Amsterdam, Halma, François, Netherlands, Goeree, Jan, Magesyn der Italiaense Gebouwen, Thermen van Diocletianus, Above a reconstruction of the Baths of Diocletianus, flanked by statues and trees. Below a representation of the ruins of the baths with two treasure hunters in the foreground. Captions on stone blocks at both representations. The print is part of an album., print, picture, book illustration, album page, prints, pictures, height 340 mm, width 214 mm, 1670-10-20 - 1731-01-04, print maker, printmaker, 1704 - 1704, paper, etching, etchings, Work conception, after a design by, Noord-Nederlands, 1653-01-03 - 1722-01-13

. Landscape with a classical temple and in the foreground two putti with a garland under a garden vase. On the right in the background a standing woman and a seated man in conversation.

Giuseppe Vasi, after Giuseppe Palazzi, after Paolo Posi, The Seconda Macchina for the Chinea of 1774 A Villa with Ancient Monuments and a Game of Giostra, 1774 The Seconda Macchina for the Chinea of 1774: A Villa with Ancient Monuments and a Game of Giostra

Ponte Trifonale in epoca romana, historisches Rom, Italien, 1625, Rom, Italien, digitale Reproduktion einer Originalvorlage aus dem 18. Jahrhundert, O...

Façade van Vestibule, Anonymous, Daniël Marot (I), in or after 1703 print Façade of a vestibule with Corinthian columns. On the left a colonnade with view towards a fountain. In the foreground, two men lift a vase of a pedestal. Passed copy to print from series Troisième Lieure De Perspectives. Netherlands (possibly) paper etching

Theater Curtain: View of a Classical Amphitheater, Marsigli-Rossi Theater, Bologna, Antonio Giuseppe Basoli, Italian, 1774-1843, Pen and brown ink, brush and watercolor on paper, Italy, 1808, theater, Drawing, Drawing

Allegory with performances from the passion of Christ, Pieter van der Meulen, After Cornelis Groeneveld, 1790 - 1858 print In an architectural space, scenes from the passion of Christ are depicted on the walls. In the middle of the Last Supper. On the left the scourge and the capture of Christ. In the middle of the cross. On the right Christ nailed to the cross and the cross -facing. Allegorical figures are in the foreground in the room. On the left the steadfastness with a column in the arms. A figure with a buoy on the foot, symbol for the person who is a slave of his earthly desires, is taken by faith. Left behind, hope takes a child in the arms. In the foreground, the envy flees for the statue of the Christian faith. She keeps the book with the seven stamps from Revelation in her hand, on which the Lamb lies. In her other hand the shield of the Holy Spirit. Amsterdam paper etching Passion of Christ. Last Supper (in general) (Matthew 26:21-35; Mark 14:18-31; Luke 22:3, 22:15-23; Joh

Antwerp, Bouttats, Gaspar, Southern Netherlands, Cornelis de Witt excuses a rapist, Cornelis de Witt excuses a rapist. Scene from the life of Johan and Cornelis de Witt; part of a group of illustrations, numbered: I. Vertooningh and accompanied by a verse of 8 lines. Printed on the back with text in Dutch., print, picture, book illustration, prints, pictures, Frederik Muller Historieplaten, height 159 mm, width 130 mm, print maker, printmaker, 1672 - 1672, third quarter 17th century, paper, papier, etching, etchings, letterpress printing, Work conception, 1640 - 1695

Antwerp, Galle, Theodoor, Vredeman de Vries, Hans, Doetechum, Johannes or Lucas van, Variae Architecturae formae, Oval architectural perspective views for intarsia, Portal with barrel vault and a city gate in the background, Portal with barrel vault. Empty wall niches on the left and right. A city gate in the background. Scrollwork with masks in the corners. This print is part of an album., print, album page, prints, height 163 mm, width 216 mm, print maker, printmaker, 1560 - 1562, paper, etching, etchings, Work conception, Southern Netherlands, 1527 - 1607, after a design by, Publication (Event), Publication, 1571 - 1633, publisher

One of six perspective designs for the Concave Mirror and engraved mirrors in Vauxhall Gardens, Print made by Jacob Bonneau, 1741-1786, British, after Samuel Wale RA, 1721-1786, British, and after John Gwynn RA, 1713-1786, British, 1751, Etching and stipple engraving on moderately thick, slightly textured, cream laid paper, Sheet: 11 5/16 x 15 1/2 inches (28.8 x 39.4 cm), Plate: 8 7/8 x 10 13/16 inches (22.5 x 27.5 cm), and Image: 8 3/16 x 10 1/4 inches (20.8 x 26 cm), arches, architectural subject, children, columns, concave mirrors, designs, domes, exploring, fancy dress, fresco, gardens, hallways, leisure, men, palace, plans, sculpture, talking, women, England, Greater London, Lambeth, London, Southwark, United Kingdom, Vauxhall Gardens

Face on the Piazzetta in Venice; La Piazza di San Marco. View of the Piazzetta with the Biblioteca Marciana and the Campanile di San Marco and on the right the Doge Palace and the San Marco. In the distance the Torre Dell'Orologio. In the foreground gonds in the Grand Canal and the two columns with statues of the Sacred Teodoro of Amasea and the Lion of the Holy Marcus. Title in the middle. The print is part of an album.

Elevation of a fountain (IT)

High fireworks on the bridge, about the marriage of Madame Louise Elisabeth ...

Landscape with a monument consisting of a sarcophagus surrounded by four columns. On the right two figures, Monument in a landscape, print maker: anonymous, 1700 - 1800, paper, etching, h 128 mm × w 178 mm

print, Jan van Doetechum the Elder, Dutch, active 1554 - ca. 1600, Johannes van Doetechum I, ca. 1530 - 1606, Lucas van Doetechum, Dutch, after 1584, Hans Vredeman de Vries, Dutch, 1527 - ca. 1606, Support: White laid paper, Netherlands, 1560, architecture, print

Decoration on the house of Mr. H. van der Souw in Naarden, 1766. Decoration applied to the home of the pastor Henricus van der Souw in Naarden. Panel with the Prince at the Dutch Virgin in the Dutch garden. With four-line verse. On the occasion of the majority of Prince Willem V on March 8, 1766. Numbered at the top: XVIII.

A Reconstruction of the Arch of Gallienus (above) and a View of the Ruins (below). Artist: Jan Goeree (Dutch, Middelburg 1670-1731 Amsterdam). Dimensions: 13 1/8 x 8 13/64 in. (33.3 x 20.8 cm). Date: before 1704. Museum: Metropolitan Museum of Art, New York, USA.

Entry by the Keizerspoort, 1594, 1594 - 1595 Intocht door of keizerspoort. Oporten van Brabo, Deugd en eer. Onderdeel Van de Beschrijving van de species van aartshertog Ernst Antwerp, 18 July 1594, Door John Boche, description of the public congratulation, spectacles and games in the arrival sereniss. Prince Ernest archiducis Austria, Ex Plantiniana, Antwerp 1595. print maker: Southern Netherlandspublisher: Antwerp paper etching Antwerp. Emperor's gate Intocht door of keizerspoort. Oporten van Brabo, Deugd en eer. Onderdeel Van de Beschrijving van de species van aartshertog Ernst Antwerp, 18 July 1594, Door John Boche, description of the public congratulation, spectacles and games in the arrival sereniss. Prince Ernest archiducis Austria, Ex Plantiniana, Antwerp 1595. print maker: Southern Netherlandspublisher: Antwerp paper etching Antwerp. Emperor's gate

Fountain of Trevi, Giovanni Battista Piranesi, Italian, 1720-1778, Engraving, Italy, 1748-78 (printed date), Print, Print

The art chamber. Copper engraving. Illustration between p. 116/117 in: E. G. Happelii Great memoisiness of the world or so geninated relation Curiosae. Hamburg: Wiering, 1,1683 / 5.1691. Dresden: Slub Hist.Misc.B.116

Setting up the obelisk on Sint Pieterplein. A crowd men and horses for the St. Pieter is setting up the Vatican Obelisk (in 1586). Under a legend with explanatory list of numbers and letters and the portrait of Domenico Fontana, the architect who saw the entire trip and creation of the obelisk.

I vestigi dell' antichità di Roma, Du Pérac, Etienne, d. 1604, Engraving, 1575, plate 12

Design for Festival Architecture for an Entry into Paris for the King of Sweden, Frederick I of Hesse 18th century Guillaume Thomas Raphaël Taraval French. Design for Festival Architecture for an Entry into Paris for the King of Sweden, Frederick I of Hesse 343518

Dream of nebuchadnezzar; History of Daniel; Thesaurus Sacrarum historiarum Veteris Testamenti (...). Daniel stands for the throne of King Nebuchadnezzar and explains the dreams of the king. The dreams of the king can be seen at the top. A guard drops left from heaven and gives a command to chop the big tree. On the right the dream of the image with the head of gold and feet of iron and clay. Daniel tells that the first dream means that the king will be rejected and seven years as an animal will live. In the background you can see how nebuchadnezzar is sent away. Left in the landscape lives nebuchadnezzar as an animal and eats grass. Under the show a reference in Latin to the Bible text in. 2. The dream then. 4. However, in this representation is central.

Illustrations with architecture and figure compositions. Two illustrations of the same stones bow above each other. Above a man walks with staff under the bow; The man points to one. At the top right: p. 231.

Train distance of Karel V, 1555, 1782 - 1784 print Charles V's abdication on October 25, 1555 in which he transfers the government of the Netherlands to his son Philip. Throne room with the emperor standing in front of the throne, with an arm leaning on the shoulder of young Willem van Oranje, in front of them is Philip. Northern Netherlands paper etching voluntary abdication (of a ruler) Palace on the Koudenberg

Domenico Maria Fratta, Monument to King George I, 1732 Monument to King George I

Lenfant prodigue revient a la maison paternelle (The Prodigal Son Returns to the Paternal Home), from the series La vie de lenfant prodigue (The Life of the Prodigal Son). Artist: Jacques Callot, French, 1592-1635

Triumphal Arch in a Landscape. Dated: before 1753. Dimensions: plate: 16.3 x 18.2 cm (6 7/16 x 7 3/16 in.) sheet: 24.1 x 34 cm (9 1/2 x 13 3/8 in.). Medium: etching and engraving on laid paper. Museum: National Gallery of Art, Washington DC. Author: Giuseppe Antonio Landi.

Print, The representation of Mount Etna with the forge of Vulcan.; Italy; etching paper; watermark: lily in double ovoid topped by v; (437 X 602 cm)

32nd table of the collection of historical engravings of the main events since the opening of the General States (1789-1791). Event of the French Revolution. Parisian women sitting in the National Assembly with the deputies, Versailles. October 5, 1789. (Title Title)

Print, Interior of the Duke's Theater in Dorset Gardens, London, a Scene from Elkannah Settle's "The Empress of Morocco"; Designed by Richard Sawyer; England; etching with engraving, hand colored

Festa della Sensa (third part), Jost Amman, 1679 print Procession of the Doge on Ascension Day over San Marcoplein in Venice. The procession leads to the Bucintoro, the Galei of the Doge. Once a year the doge 'married' during the Festa della Sensa in a ceremonial way with the Adriatic Sea by throwing a ring in the water from this Galei. print maker: Neurenbergpublisher: Frankfurt am Main paper procession ~ Christian religion. gondola. city-view in general; 'veduta' Clock tower. Dogepaleis. Basiliek Van San Marco. San Marcoplein. Venice

Two vases for the ground floor of Zorgvliet; Garden vases. The vase left is decorated with a sacrificial scene, flanked by two hermen. From series of 7 sheets with two vases on a balustrade on every leaf with a view of the gardens of Zorgvliet in the background.

Entertainment UWE eyes, Youth! In the seven planeties. / Each running in his circle / they are therefore called / Saturn, Jupiter, Mars, Sol and Venus, with / Merkuur and Luna, put here on Stairs Neèr, 1715 - 1813 print Leaf with a large representation of a staircase with the personifications of planets. A staircase with seven steps with Mercury, Mars, Luna, Sol, Jupiter, Venus and Saturn. Under the show a verse in two columns. Numbered at the top right: No. 100. print maker: Netherlandsprint maker: Netherlandspublisher: Amsterdam paper letterpress printing planets (except the earth)

Amsterdam, Wendel en Zoon, J., Asch-Karmans Kermis Wensch 1830, Fair print of the Amsterdam ash cart men for the year 1830, verso - stamped, Fair print on behalf of the ash cart men (cart man or garbage man) in Amsterdam for the year 1830. View of a street with a gate in Amsterdam, a man brings an ash bucket to the cart while another man collects money from the house. At the bottom a poem in two columns and a song in three verses. On behalf of JD Farjon, the ash cart man of district no. 19., print, kermisprent, prints, Frederik Muller Historieplaten, height 345 mm, width 215 mm, print maker, printmaker, 1830 - 1830, paper, papier, letterpress printing, letterpress, woodcut, Dutch, printer, drukker

Plate Four from Evenings in Rome Made 1763-1764 France. Etching in black on off-white laid paper, tipped onto tan laid paper . Hubert Robert

Funeral of the Grand Condé. Artist: Jean Berain (French, Saint-Mihiel 1640-1711 Paris). Dimensions: 14 1/2 x 11 15/16 in. (36.8 x 30.3 cm). Date: ca. 1687.Decoration and arc de triomphe for the funeral of the Grand Condé held in Notre-Dame on March 10, 1687 (with corrections for the engraving). Museum: Metropolitan Museum of Art, New York, USA.

Funeral of Francesco de' Medici 1634 Etched by Stefano della Bella Italian. Funeral of Francesco de' Medici 373886

Drawing, Stage Design, Building Adjoining Park Scenery; Italy; pen and brown ink, brush and wash on laid paper

Landscape with classical temple, possibly Pieter van den Berge, 1669 - 1744.

Coffeehouse with arguing couple; Neues Caffehaus; Social entertainment. Links from a Rocaille coffee house argue a woman and a smoking man. Right of the house is a smoking man to read. In the undermaster a German text. Publisher number XII.

Three vases against the background of ruins; Unknown, Teyler, Johannes (1648-Post 1697), Marot, Daniel (1661-1752; st.); after 1697 (1663-00-00-1752-00-00);Magdalenaea (collection), Schlesisches Museum der Bildenden Künste (Wrocław - 1880-1945) - collection, French (culture), gardens, projects, ruins, vases

View of the Buitenplaats Zwanenburg with Vlissingen in the background, Pieter Hendricksz. Schut, 1719 - 1725 print paper etching / engraving prospect of village, silhouette of village. castle. four-wheeled, animal-drawn vehicle, e.g.: cab, carriage, coach Koudekerke. Flushing

Oranjeboom in Leerdam, 1793, Anonymous, 1793 print Oranjeboom planted by the burgers of Leerdam on May 16, 1793. Boom standing in a Dutch garden and guarded by the Netherlands Lion. Above the tree an angel with trumpet (fame) under a crown. print maker: Northern NetherlandsUtrecht paper etching / engraving fenced or walled garden; 'Hortus Conclusus' Leerdam

Battle for the Belgian cow, 1830, Anonymous, 1830 - 1831 print Cartoon on the attempts of King William I to keep Belgium, 1830. The king pulls the Belgian cow on the tail and is being taken in the face, meanwhile the crown prince is milking the cow as long as it is still possible. On the left two Belgians pull the cow on the horns. In the background the Willemspoort in Brussels. In the caption De Legenda 1-4, with 4 two (adapted) rules from the song 'Bon Voyage Monsieur Dumollet' sung by the Belgian insurgent. Belgium paper milking. cow (+ animal excreting) Willempoort

Partial View of a Monument Mercurii Templum from the series 'Ruinarum variarum fabricarum delineationes pictoribus caeterisque id genus artificibus multum utiles'. Artist: Lambert Suavius (Netherlandish, ca. 1510-by 1576); After a print previously attributed to the Master G.A. (Italian, active ca. 1535). Dimensions: Plate: 5 5/16 x 3 1/8 in. (13.5 x 7.9 cm). Date: ca. 1572.Perspectival depiction of the right half of a temple, referred to as the 'Mercurii Templum', set in a stylized landscape. Curiously, the building does not appear to have an entrance, but both the central and right bay are marked by an aedicula, indicating that it might have functioned as an altar. A temple of Mercury is referenced in Medieval descriptions of Rome, although the precise location nor remains have been uncovered so far. The current rendition is likely based on descriptions as is the case for various other prints in the same group. This print and several others in this series published by Gerard de Jo

Arc de Triomphe of the crossroads of Saint Gervais Fountain (IT)

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