Classical Mythology Illustrations

Dramatic depictions of mythological scenes featuring gods and heroic figures in intricate detail and dynamic compositions, showcasing themes of judgment and divine intervention.

Last Judgment, page C, A detail from the fresco 'The Last Judgment' by Michelangelo in the Sistine Chapel. Marked lower left: C., Giorgio Ghisi, 1530 - 1582, paper, engraving, h 456 mm × w 442 mm

Fries met vrouw en kind; Varii zophori, figuris animalium ornati.The woman and the child are located between a feminine and four male sea horses, against a background of leaf drinks and reed stiers. Leaf from series consisting of a title page and nine unnumbered sheets.

Lazio Roma Rome S. Croce in Gerusalemme13. Hutzel, Max 1960-1990 Medieval: Cosmati pavement, architecture (facade). Post-medieval: Architecture, architectural sculpture, sculpture, frescoes: "Leggenda della Santa Croce," Antoniazzo Romano (attr) & "S. Elena sale al cielo," Corrado Giaquinto; mosaic ceiling in Cappella di S. Elena; coats-of-arms German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Horizontal Panel Design with Five Male Figures Fighting a Dragon 17th century (first half) Anonymous, Italian, Venetian, 17th century Italian Design for a horizontal panel showing five male figures whose lower bodies consist of hairy, meandering tails. They are fighting with a dragon. One of them stabs him with a spear or pole.. Horizontal Panel Design with Five Male Figures Fighting a Dragon 410870

. Upper part of a print with an allegory on the victory of King Louis XIV. The Holy Trinity keeps the French crown above the head of King Louis XIV on horseback. In addition to her two angels, one of which has a flag with areas conquered by France.

H. Joris fights the Draak, Cornelis Galle (II), 1638 - 1678 print Saint Joris sits on his horse and fights with his sword against a dragon. Antwerp parchment (animal material) engraving the warrior martyr George (Georgius); possible attributes: banner (red cross on white field), (red) cross, dragon, (white) horse, broken lance, shield (with cross), sword

Playing putti in a landscape, anonymous, after Peter Paul Rubens, 1598 - 1690 print Several putti play in a mountainous landscape. On the left a putto holds a wreath with roses and next to him a putto blows on a trumpet. In the middle, a young sater and a putto struggle together. On the right a putto with a goose at a putto with a ball and a caduceus. Behind them a rooster on a rock. print maker: Low Countriesafter painting by: Antwerp paper engraving cupids: 'amores', 'amoretti', 'putti'. children's games and plays. wrestling (sport). satyr(s) (in general)

Study for "Surprise" (Battle of the Tigers). Dated: c. 1865. Dimensions: overall (approximate): 21.9 x 29.1 cm (8 5/8 x 11 7/16 in.). Medium: graphite on blue-gray paper. Museum: National Gallery of Art, Washington DC. Author: François-Nicolas Chifflart.

Massamoord of the inhabitants of Prato, Pietro Sante Bartoli, After Rafaël, 1645 - 1700 print The mass murder of the inhabitants of Prato. A group of frightened people are sitting on the floor. Standing soldiers put them dead with their swords. Title in the lower margin. Numbered in the middle: 9. print maker: Italyafter design by: Italyafter design by: Vaticaanstadpublisher: Rome paper etching / engraving massacre ~ war Prato

The last judgement. Engraving by A. Caprioli after M. de Vos.

Triumphal trip of Roman emperor with soldiers and captured arms, 70, Marcantonio Raimondi, after Andrea Mantegna, 1510 - 1527 print paper engraving triumphs (allegorical and symbolic). conqueror triumphing, triumphal entry of victor

Drawing, The Annunciation of the Virgin, After Guido Reni; Designed by Felice Giani (Italian, 1758-1823); Italy; pen and ink, brush and brown washes on paper

Vatican City, Alexander VII, Rome, Collignon, François, Italy, Carracci, Annibale, Cesio, Carlo, Galeria nel Palazzo Farnese in Roma, Paintings in Palazzo Farnese in Rome, Baths and nude male figures, A medallion with a representation. Around the medallion are sculptures of nude figures and putti., print, prints, height 259 mm, width 281 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, Publication (Event), Publication, French, 1610 - 1687, publisher, uitgever, 1599-02-13 - 1667-05-22, verlener van privilege

Moses Shows the Tables of Law to the Israelites, after Perino del Vaga, Felice Giani, Italian, 1758-1823, Perino del Vaga, Italian, 1501 - 1547, Pen and brown ink, brush and dark brown wash on off white laid paper, A hooded figure stands on a platform at right, holding a white tablet in the air. Before him, at left, is a large group of kneeling figures in robes., Italy, ca. 1820, figures, Drawing, Drawing

Plate from Battles and Victories (Combats et Triomphes). Artist: Étienne Delaune (French, Orléans 1518/19-1583 Strasbourg). Dimensions: sheet: 2 11/16 x 8 3/4 in. (6.9 x 22.3 cm). Date: n.d.. Museum: Metropolitan Museum of Art, New York, USA.

Black pen drawing by Heinrich Friedrich Füger serving as a study for the figure of the vestal Tucia.

Copper engraving and etching by Jean Charles Le Vasseur depicting Antiochus dictating his last wishes, created between 1750 and 1816, illustrating historical and narrative scene.

Passage over Jordan by Julius Schnorr von Carolsfeld, (1749-1872)

The Death of Adonis, Print made by Elisha Kirkall, ca. 1682-1742, British, after Ciro Ferri, 1634-1689, Italian, 1723, Chiaroscuro woodcut and engraving

Prisoners; Glorification of the German order, in particular from the Land Commandery Alden Biesen. Three men, one of whom a turban bears and the two others are chained. This print is part of a major representation, composed of 20 separate plates, of the history and works of the German Order (center) surrounded by representations of the Land Commandery Alden Biesen (below) and the associated commanders (left and right) .

Singing angels. Draughtsman: anonymous. Draughtsman: Guido Reni (school of). Dating: 1600 - 1699. Measurements: h 202 mm × w 235 mm. Museum: Rijksmuseum, Amsterdam.

'Rest of Diana'. Flanders. Dimensions: 223,5x280,5 cm. Museum: State Hermitage, St. Petersburg. Author: Jacob Jordaens (workshop).

Hercules. Richard van Orley; Flemish, 1663-1712. Date: 1683-1712. Dimensions: 77 × 90 mm. Pen and brush and gray wash, with red chalk, on ivory laid paper. Origin: Flanders. Museum: The Chicago Art Institute, Chicago, USA.

Aeneas Vlucht from Troje, Arnoud van Halen, 1683 - 1732 print Aeneas flees with his father (Anchises) and his son (Ascanius) from the burning Troy. He wears his blind crippled father on his back. Amsterdam paper '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

Shakspeare. Midsummer nights dream, act IV, scene I : A wood : Titiana, Queen of the Fairies, Bottom, fairies attending etc. etc. , Fairies, Shakespeare, William, 1564-1616, Characters, Shakespeare, William, 1564-1616. Midsummer night's dream. Thomas Pennant Barton Collection

Triumph of Neptunus, 1634 - 1690 print Neptunus, sitting in a shell, followed by tritons and sea gods. paper etching triumph of Neptune

Hendrick Goltzius (1558-1617); Cornelis Cornelisz. Van Haarlem (1562-1638), wearing Fortaerer Cadmus' Maend, 1588

Allegory in Honor of Louis XIV Claude Mellan French. Allegory in Honor of Louis XIV 392969

On verso: study of ceiling; four architectural decorative studies. Pen and brown ink, brush and brown wash on paper. Date: 1813-18. Museum: Cooper Hewitt, Smithsonian Design Museum.

Frisian with children playing and a putto, Cornelis Schut (I), 1618 - 1655 print Frisian with six children who play with sticks and leaves. A seventh child fell asleep. On the left is a putto with a basket of fruit. paper etching / engraving playing in the woods. cupids: 'amores', 'amoretti', 'putti'

religion ancient world Greek mythology Pandora releasing the misfortunes of mankind engraving Italy circa 1555/1560 private collection,

Photo production of (presumably) a fresco in the Palazzo Pallavicini-Rospigliosi by Guido Reni, representative Aurora, Anonymous, After Guido Reni, c. 1865 - c. 1890 photograph Part of Reisalbum with photos of sights in Italy (part I). Ring Gallery paper. photographic support albumen print personification of the morning, 'Aurora'; 'Aurora' (Ripa). painting (including book-illumination, miniature-painting) (+ plaster ~ arts) Rome. Ring Gallery

Antwerp, Jode, Gerard de, Coxie, Michiel (I), Sadeler, Johann (I), Thesaurus sacrarum historiarum veteris testamenti, elegantissimis imaginibus expressum excellentissimorum in hac arte virorum opera: nunc primum in lucem editus, History of Cain and Abel, Sacrifice of Cain and Abel, The brothers Cain and Abel each bring an offering. Cain's offering is refused, because the smoke goes down. Abel's offering is accepted by God, the smoke goes up. A sunbeam shines on Abel, who kneels and stretches his arms toward heaven. At the altar of farmer Cain lie vegetables and fruit. At the altar of the herdsman Abel lie sheep. At the bottom a reference to the Bible text in Gen. 4 in Latin. This print is part of an album., print, album page, prints, height 207 mm, width 281 mm, South Netherlands, 1550 - 1600-08, print maker, 1576 - 1576, paper, engraving, engraving (printing process), Work conception, 1499 - 1592-03-10, after a design by, Publication (Event), Publication, Northern Netherlands, 1509 -

Procession of men and women with provisions, Anonymous, After Pietro Sante Bartoli, After Polidoro da Caravaggio, After Maturino da Firenze, 1645 - 1700 print A procession of men and women with provisions to the left. print maker: Italyafter print by: Italyafter design by: Romeafter painting by: Rome paper etching / engraving food supply. (military) equipment and supply

Battle of the Centaurs and Lapiths at the wedding of Pirithous and Hippodamea. Artist: Giulio Romano. Draughtsman: Jan de Bisschop. Dating: 1648 - 1671. Measurements: h 220 mm × w 440 mm. Museum: Rijksmuseum, Amsterdam.

Venus Mourning the Death of Adonis. After Luca Cambiaso; Italian, 1527-1585. Date: 1547-1600. Dimensions: 250 x 292 mm. Woodcut printed in black, on paper. Origin: Italy. Museum: The Chicago Art Institute, USA.

Marco Marcola painting of a decorative frieze with creeping plants, showing texture, color, and form, executed with paint brush on brown paper.

Master of the Amsterdam Cabinet, Bocholt (Germany), Meckenem, Israhel van, Fight between two savages on horseback, verso lower left - stamped, Two riders attacking each other with trees uprooted from the ground. Their armour and the horses' robes consist of ornamental foliage, the helmets are respectively a bunch of garlic and a bunch of radishes., print, ornamental print, prints, height 150 mm, width 214 mm, German, 1440 - 1517, print maker, printmaker, 1455 - 1503, third quarter 15th century, fourth quarter 15th century, first quarter 16th century, paper, engraving, engraving (printing process), Work conception

Alkmaar, Schabaelje, Jan Philipsz, Amsterdam, Visscher, Claes Jansz. (II), Vos, Maerten de, Den Grooten Figuer-Bibel, Visions of Ezra, Of Esdras and Nehemias, Third vision of Ezra: the crowd fights against the man from the sea, lower right - handwritten in brown ink, The third vision of Ezra. He sees a crowd of people fighting against a winged man, who has fled to a mountain. Below the representation is a reference in Latin to the apocryphal Bible text in 4 Ezra 13:3. This print is part of an album., print, album sheet, prints, 282, height 204 mm, width 288 mm, print maker, printmaker, 1585 - 1585, 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 - 1656-04

Diana on a chariot; Nouveau Livre des Dieux et Deeßes de la Marine Bouckje van Zeegoden and goddesses. The car is being continued by two deer.

Air, Unknown, After Cornelis Schut (I), 1670 - 1726 print A child with his arms full of grain stalls and fruit drives through the clouds on a team. paper etching / engraving air (one of the four elements). agricultural implements: plough

Soldiers Destroying a Bridge. Peter Paul Rubens (1577-1640). Black chalk, grey and brown wash and oil paint with pen and brown ink on buff paper. 39.4 x 28.5cm.

The Fall of Troy and the Escape of Aeneas. Giorgio Ghisi (Italian, 1520-1582); after Giovanni Battista Scultori (Italian, 1503-1575). Date: 1542-1548. Dimensions: 383 x 496 mm (image/plate); 388 x 500 mm (sheet). Engraving in black on ivory laid paper. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Saint Martin and the Beggar, Bartholomeus Spranger, 1599 - 1609, Design for a print., draughtsman: Bartholomeus Spranger, 1599 - 1609, paper, pen, brush, h 246 mm × w 120 mm

Antwerp, Cock, Hieronymus, Heemskerck, Maarten van, Galle, Philips, History of Daniel, Bel and the dragon, Daniel is freed from the lions' den, King Cyrus finds Daniel alive in the lions' den after seven days and has him pulled up with ropes. Below the image is an explanatory text in Latin. This print is part of an album., print, album leaf, prints, height 201 mm, width 248 mm, South Netherlands, 1537 - 1612-03-29, print maker, printmaker, 1565 - 1565, paper, engraving, engraving (printing process), Work conception, North Netherlands, 1498 - 1574, after a design by, Publication (Event), Publication, 1518 - 1570-03-10, publisher

This Clair OBSCUR woodcut by Monogrammist NDB from 1544 depicts the biblical Massacre of the Innocents in Bethlehem, showing figures, postures, expressions, clothing, and group arrangement across three plates.

Vatican City, Papal Court, Sadeler, Justus, Italy, Polidoro da Caravaggio, Fialetti, Odoardo, Figures between coats of arms and vases, Frieze with the personification of History writing on a round tablet between coats of arms, verso - stamped, print, prints, height 69 mm, width 261 mm, Italian, 1573-07-18 - 1638, print maker, printmaker, 1583 - 1638, paper, papier, etching, etchings, Work conception, 1490 - 1543, after a design by, Publication (Event), Publication, South Netherlands, 1583, publisher, granter of privilege

A battle between warriors on foot and on horseback. Right in background a city gate. Siege of a city, print maker: Andrea II Scacciati, (mentioned on object), Giorgio Vasari, (mentioned on object), Florence, 1735 - 1771, paper, sulphur print, h 385 mm × w 317 mm

The Entombment, c. 1550s. Andrea Schiavone (Italian, c. 1500-1563). Woodcut; sheet: 32.8 x 24.3 cm (12 15/16 x 9 9/16 in.); image: 30.5 x 22.3 cm (12 x 8 3/4 in.).

Angels Carrying Pillar with Saints Below (upper right section of the Last Judgment). Artist: Engraved by Niccolò della Casa (French, active Italy, ca. 1543-48); After Michelangelo Buonarroti (Italian, Caprese 1475-1564 Rome). Dimensions: sheet: 32 3/4 x 25 1/2 in. (83.2 x 64.8 cm). Date: 1548.One of a set of prints intended to fit together. The accession numbers are: 62.602.652(1-3) and 59.570.46(1-2). Date traced in ink and changed from 1543 to 1548. Museum: Metropolitan Museum of Art, New York, USA.

Cartoon on Münster, 1674, 1877 - 1879 print Reproduction of a cartoon on Münster (and Cologne) After closing the peace between the Republic and England, 1674. A Dutchman cuts a boar (Münster). In the background, a bird buyer (Germany) catches and picks the Haan (France) and a wolf (Cologne) is driven away. In the middle of a cartouche with a verse of 6 lines in Dutch. print maker: Netherlandsafter print by: Northern Netherlands paper political caricatures and satires

Judgment of Paris. In Circle Paris with a ball at his foot, along with three goddesses and Mercury.

Hercules Fighting the Trojans, From the Labors of Hercules, 1545, Sebald Beham, German, 1500-1550, 2 × 3 in. (5.08 × 7.62 cm) (sheet), Engraving, Germany, 16th century, The legendary strongman Hercules was born to the god Zeus and a mortal named Alcmena. This union so incensed Zeuss wife Hera that she made life almost unbearable for the hero. Her ire resulted in him undertaking a series of tasks, known as the Twelve Labors of Hercules. Sebald Beham challenged his audiences knowledge of the classical text, engraving three actual labors and nine scenes of Hercules exploits before and after his labors.

Dancing a Music Putti ..

The Second Tournament (with the Tapestry of Samson and theLion). Artist: Lucas Cranach the Elder, German, 1472-1553

Winged sea dier with a goatee, c. 1526 - 1606 print Opposite copy to print with object number RP-P-1984-439. Germany (possibly) paper engraving

Fall of the Giants. Artist: Circle of Bernard Picart (French, Paris 1673-1733 Amsterdam) (); After Guglielmo della Porta (Italian, Porlezza, near Lake Lugano ca. 1500-1577 Rome); Attributed to Peter Paul Rubens (Flemish, Siegen 1577-1640 Antwerp). Dimensions: sheet: 6 7/16 x 10 13/16 in. (16.4 x 27.5 cm). Date: late 17th-early 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Anonymous / 'Cavalry Battle'. XVI century. Wash, Pencil, Pencil ground, Grey-brown ink on paper. Museum: Museo del Prado, Madrid, España.

Fall of the giants (third part), Bartolommeo Coriolano, After Guido Reni, 1638 print The giants who stormed heaven to overthrow Jupiter are buried under stone. At the top of the furious Jupiter with eagle and lightning bolts. At the top left the coat of arms of Francesco I d'Este. Bologna paper the Giants buried beneath volcanoes. giants, colossi. battle of the Giants against the gods: gigantomachy

Eight Soldiers Engaged in Fencing Exercises. Virgil Solis, the Elder; German, 1514-1562. Date: 1536-1546. Dimensions: 31 x 176 mm (image/plate); 34 x 179 mm (sheet). Etching in black on ivory laid paper. Origin: Germany. Museum: The Chicago Art Institute, Chicago, USA. Author: the Elder Virgilius Solis.

The temptation of Saint Antony Abbot. Mezzotint by A. Blooteling (Bloteling) after C. Procaccini.

Composition of figures between a Pan herm and a sculpted bust: at left putti carry grapevines, at center a satyr supports Silenus upon a leopard skin, at right a satyr shoes a donkey, from a series of twelve frieze-like designs showing bacchanals, sacrifices, and dances. Artist: Pierre Brebiette (French, Mantes-sur-Seine ca. 1598-1642 Paris). Dimensions: sheet: 2 13/16 x 10 7/16 in. (7.1 x 26.5 cm). Publisher: François Langlois (French, baptized Chartres, 1588-1647 Paris). Series/Portfolio: Twelve frieze-like designs showing bacchanals, sacrifices, and dances. Date: ca. 1617-25. Museum: Metropolitan Museum of Art, New York, USA.

Sater shoots an arrow on a statue of Bacchus while Mercury is watching, Pierre Brebiette, 1617 - 1626 print Rome paper etching (story of) Mercury (Hermes). satyr(s) (in general). shooting with bow and arrow, archery (~ games of skill)

Eva met Kaïn en Abel; Pastoralen en dieren.Eva is sitting with a spin skirt under a tree. Cain and Abel are bending over pumpkins or gourds. A monkey in the foreground.

Seven Men in Antique Dress. Dated: 1798. Dimensions: overall: 34.5 x 21.9 cm (13 9/16 x 8 5/8 in.). Medium: pen and brown ink on laid paper. Museum: National Gallery of Art, Washington DC. Author: Friedrich Heinrich Füger.

Arrival of Giovanni de 'Medici in Florence; Civium Salutantium Occcursu Florentiam Advenit Magna Familiae, Dignitatis Suae Exstimatione; Scenes from the life of Pope Leo X. Giovanni de 'Medici arrives in Florence on horseback, where it is met by a group of people. On the left a landscape river god. Title in undermarge. Numbered in the middle below: 2.

Hans Burgkmair, known as the old (1473-1531). Der Weisse Koenig: fight between two troops of infantrymen: seventh issue of the suite of eight plates published in 1869 (Dornik-Eger 29). Xylography, 1512-1519. Museum of Fine Arts of the City of Paris, Petit Palais. Drawing, emperor, history, illustration, serious board, triumph, 16th 16th XVI 16th 16th 16th century, xylography, engraving

Design for a Frieze with Putti carrying a Vine and Three Felines, Plate 11 from: 'Decorative friezes and foliage' (Ornamenti di fregi e fogliami) ca. 1645-50 Stefano della Bella Italian. Design for a Frieze with Putti carrying a Vine and Three Felines, Plate 11 from: 'Decorative friezes and foliage' (Ornamenti di fregi e fogliami) 397799

A Bacchanal, Silenus supported by two bacchants in the centre, at right a female satyr reclining on a bed and another pulling the horns on a statue of Priapus, various other figures fill the composition ca. 1510-13 Marcantonio Raimondi Italian For discussion of this print, its dating and relationship to another version of the print by Marcantonio, see James Grantham Turner, 'Marcantonio's Raimondi's Bacchanals: New Findings', Print Quarterly, vol. XXXIV, 2017, pp.259-69. This print is the second version. For the first version see 17.50.158.. A Bacchanal, Silenus supported by two bacchants in the centre, at right a female satyr reclining on a bed and another pulling the horns on a statue of Priapus, various other figures fill the composition 345270

Germany, Monogrammist FG, Ornament with centaur, verso lower left - stamped, Surface decoration with on the left a centaur with a shield and with a volute of leaf tendrils instead of an abdomen. On the far left half of an animal skull is visible, on the right half of a shield., print, ornament print, prints, height 42 mm, width 66 mm, German, print maker, printmaker, 1536 - 1536, second quarter 16th century, paper, engraving, engraving (printing process)

Hell. Engraving after Buonamico di Martino called Buffalmacco.

Playing putti, Martinus Josephus Geeraerts, style of, c. 1740 - 1760

The Suicide of Dido 1650-1700 After Pietro Testa Italian. The Suicide of Dido. After Pietro Testa (Italian, Lucca 1612-1650 Rome). 1650-1700. Etching. Vicenzo Billi (Italian, active 17th century). Prints

A drawing by Francesco de Rossi titled 'Train of the Silen', executed with feather pen, ink, laved and heighted with white on green primed paper.

A Bacchic Procession with Silenus, by Carracci Annibale, 1597 - 1600, 16th Century, charcoal and white lead on gray, blue paper. Italy: Marche: Pesaro Urbino: Urbino: Galleria Nazionale delle Marche. Detail. Bacchus god Silenus cortege/procession bacchanal feast players men women girls nudity basket flowers fruit wine calf inebriation/drunkenness putti/cherubs sheet drawing squaring

Children's murder in Bethlehem, Domenico Campagnola, 1517 print Italy paper the massacre of the innocents

Battle of the Nudes. Florentine goldsmith, painter and sculptor Antonio Pollaiulo made only one print during his career, which was intended to showcase his skills. For his subject, he chose a fierce battle, in which he portrayed combatants in various poses. The central two swordsmen are mirror images, as if representing the same sculpted figure simultaneously from different sides. The result is one of the most ambitious engravings of the Renaissance.

Oval with the Olympic gods in the clouds, 1608 print From left to right: Venus and Amor, Vulcan, Mercury, Neptune, Minerva and Hercules. At the top of musicing putti. Leaf from series consisting of a title page and 11 sheets with designs for watch covers. Amsterdam (possibly) paper engraving more than one musician with instrument. the Olympian gods together: Jupiter, Juno, Neptune, Ceres, Apollo, Diana, Mars, Venus, Mercury, Minerva, Vulcan, Vesta (or Bacchus)

Dans van Driaden, Pierre Milan (attributed to), after Rosso Fiorentino, c. 1540 print France paper engraving (HAMA) Dryads, forest- and tre-nymphs; 'Driadi & Hamadridi' (RIPA)

Feather and wash drawing from 1521 depicting fruit hangers with erotes, with white heightening and partially damaged edges.

Apollo and Daphne ca. 1720-30 Workshop of Andrea Brustolon One relief shows Cupid leading Apollo by the hand in pursuit of Daphne, who is being transformed into a laurel tree. The other (see 17.190.484) portrays Venus arriving at Vulcan's forge in her dove-drawn chariot. Although now known to be Italian, these reliefs were once considered Flemish, a confusion that underscores the spread of Late Baroque style.. Apollo and Daphne 193497

Mars Ares. Etching by O. Fialetti.

Figure studies, Thomas Carwitham, active 1723, British, 1723, Pen and brown ink and brown wash on medium, slightly textured, beige wove paper, Sheet: 9 x 12 7/8in. (22.9 x 32.7cm), figure study, nudes

Nude Male Figures Bearing the Bodies of their Dead Companions 1774-1784 England. James Jefferysís powerful and eccentric drawing demonstrates the emotional intensity, exaggerated gesture, simplified form, and bold modeling that defined the new style forged by Henry Fuseli, whose circle Jefferys frequented when both artists lived in Rome in the 1770s.While the exact subject of the drawing is obscure, it appears that the two dead youths are being carried by their companions to a funeral pyre. An almost obsessive use of vertical ink hatching reminiscent of printmaking (in which Jefferys was trained) is accompanied by broad passages of brown wash to establish location and mood. While the artist occasionally uses light brown wash for modeling, for the most part the flesh of his strongly outlined nude figures is defined by the untouched cream-colored paper.. Pen and black ink and brush and reddish-brown wash on cream laid paper . James Jefferys

The Martyrdom of Saint Andrew ca. 1595 Otto van Veen Netherlandish This oil sketch on paper is the earliest surviving preparatory work for Otto van Veen's painting for the high altar of Antwerp's church of Saint Andrew, still in situ. Depicted is the crucifixion of the apostle Andrew, ordered by proconsul Aegeus, on horseback at right. Seated at left is his wife Maximilla, who had previously been healed by Andrew and would bury him after he expired on the characteristic X-shaped cross. Van Veen's altarpiece, which also includes three predella paintings, was commissioned in 1593 and completed in 1599. It counts among the first important commissions for a new altarpiece in Antwerp after Iconoclasm, and had an enduring influence on later Flemish artists, including Van Veen's most brilliant pupil, Peter Paul Rubens.. The Martyrdom of Saint Andrew 412570

Upper row: at left, four boys with geometrical instruments. Framing lines at right and below. At right: a sitting bow, with a cornucopia. Beside him is a crouching lion. Framing lines. Lower row, at left: a boy sits beside a globe. He raises his right hand with a compass. Beside him are a cornucopia and an eagle. Framing lines except at left. At right: a boy sits upon the earth looking at the sheet with mathematical figures he holds with his right hand, and holding with his left hand the leash of a dog. Framing lines. Date: ca. 1775. Pen and brown ink, brush and brown wash on off-white laid paper, lined. Museum: Cooper Hewitt, Smithsonian Design Museum.

Zethus and Amphion bind Dirce to the horns of a wild bull, Richard Collin, after Joachim von Sandrart (I), 1675 - 1680 print The twin brothers Stehus and Amphion bind Dirce to the horns of a wild bull who will eventually trample her. paper engraving piece of sculpture, reproduction of a piece of sculpture. Amphion and Zethus avenge their mother by tying Dirce to the horns of a bull

Black ink drawing depicting Esther before Ahasver, anonymous artist.

Captured Goths in the Triumphal Procession of Theodosius. Relief from the Column of Theodosius erected by Emperor Arcadius at Constantinople in 401, w...

Adam and Eve, 16th century, Attributed to Jacob Lucius der Altere, German, image, sheet: 12 x 9 5/8 in. (30.48 x 24.45 cm), Woodcut, Germany, 16th century

Relief with procession of figures in draped robes; Roman sculpted reliefs; Icone et segment (...). Relief with procession of men, women and children in draped robes. Text in Latin in undermarge. Print is part of an album.

The death of Hector by Rubens, Pieter Paul (1577-1640)/ Museum Boijmans Van Beuningen, Rotterdam/ 1630-1635/ Flanders/ Oil on wood/ Baroque/ 44,4x53/ Mythology, Allegory and Literature

Italy, Bonasone, Giulio, Men and women in a large bathtub, recto lower right - handwritten in brown ink, A group of naked men and women in a large bathtub in a bathhouse. On the left a man, a woman and a child (or putto) walking towards the bathtub with jugs. In the foreground on the left lies a caduceus. Above the bath fly two putti with bows and arrows, aiming their arrows at the bathing figures., print, engraving, prints, verso - stamped, 1566, height 226 mm, width 388 mm, Italian, 1510 - 1576, print maker, printmaker, 1501 - 1580, paper, engraving (printing process), Work conception, after own design by

Fokke, Simon, Amsterdam, Onyx with a Roman chariot and two centaurs, recto - manuscript in pencil, An onyx with the image of a Roman chariot on which a laureate man with wife and child sits. Two centaurs walk in front of the cart, in the air flies an angel with a laurel wreath. Around the onyx a richly decorated frame. The onyx was to be sold in the Mint in Amsterdam on 11 September 1765., print, engraving, prints, engravings, Frederik Muller Historieplaten, verso - stamped, on 11 September 1765 was sold in the Herberg de Munt in Amsterdam a ... onyx ... for f. 5500, height 227 mm, width 309 mm, Northern Netherlands, 1712-09-01 - 1784-04-10, print maker, printmaker, 1765 - 1767, paper, papier, etching, engraving (printing process), intermediary draughtsman

The Alexander campaign, Alexander the Great, after the relief by Thorwaldsen, illustration from 1880 / Der Alexanderzug, Alexander der Große, nach dem Relief von Thorwaldsen, Illustration aus 1880, Historisch, historical, digital improved reproduction of an original from the 19th century / digitale Reproduktion einer Originalvorlage aus dem 19. Jahrhundert,.

After the Antique: Sarcophagus Lid with the Labors of Hercules. Probably Italian; early 16th century. Date: 1500-1550. Dimensions: 144 x 683 mm. Pen and brown ink on tan laid paper. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Childhood. Date/Period: Ca. 1838. Pen with dark-brown ink over pencil, watercoloured in blue, ochre and gray, washed. Feder in Dunkelbraun über Bleistift, in blau, ocker und grau aquarelliert und laviert, mit Deckweiß gehöht, umrandet. Height: 130 mm (5.11 in); Width: 610 mm (24.01 in). Author: Eduard Bendemann.

of 3