Mythological Allegories

Etchings and prints that depict mythological themes, featuring figures like Hercules and allegorical representations of justice and fortune in dramatic scenes.

Vatican City, Raphael, Italy, God creates the animals on the land, recto bottom center - handwritten in brown ink, God, an old man with a beard, stands in a landscape among several animals that he has just created., print, prints, engravings, verso - stamped, R, height 287 mm, width 417 mm, print maker, printmaker, 1540 - 1540, paper, papier, engraving, engraving (printing process), 1483-04-07 - 1520-04-07, after a painting by

Allegory of Fortuna and Justice. Artist: Monogrammist HC (German, active 1534). Dimensions: Sheet: 6 5/16 × 7 7/16 in. (16.1 × 18.9 cm). Date: 1534. Museum: Metropolitan Museum of Art, New York, USA.

Workshop of Hendrick Goltzius, after Hendrick Goltzius, The Golden Age, c 1589 The Golden Age

Hercules Doodt of Centaur Eurytion, Charles David, after Frans Flower (1), after Cornelis Cort, 1613 - 1638 print Nummered in the bottom left: 1. print maker: Francepublisher: Paris paper engraving the centaur Eurytion, while being entertained by King Dexamenus, is attacked by Hercules, who seizes Deianira, the king's daughter

Jason gives the golden fleece; Metamorphoses from Ovid. The dragon that guards the tree where the golden fleece is on is sustled by Jason. He sprinkles the magic resources of Medea in the eyes of the dragon. In the margin a four-line caption, in two columns, in Latin.

Agostino Veneziano's copper engraving from 1510-1530 depicts Phaeton, illustrating the mythological story with Renaissance engraving detail and line work.

Frontispiece showing Venus being presented by Neptune to Venice. Lamberti, Ludovico, f. 1687-1711. Via, Alessandro dalla, fl. 1688-1724. Prints. 1688. Spencer Collection

Fisherman by river; Various genre scenes. A fisherman is on the bank of the river. In the water a net for catching fish. He waves a woman who pushes her herd by the river.

Hercules kills Geryon and his dog, Cornelis Cort, after Frans Floris (I), in or after 1563 - Before 1595 print Hercules beats the three -headed giant Geryon and his two -headed dog. In the background you can see how Hercules catches the boar of Eymanthus and brings to the city. Antwerp paper engraving Hercules kills Geryon, the monster with three heads and three bodies, after having slain the herdsman Eurytion, and Orthrus, the two-headed watch-dog

Vatican City, Raphael, Italy, God creates the animals on the land, recto bottom center - handwritten in brown ink, God, an old man with a beard, stands in a landscape among several animals that he has just created., print, prints, engravings, verso - stamped, R, height 287 mm, width 417 mm, print maker, printmaker, 1540 - 1540, paper, papier, engraving, engraving (printing process), 1483-04-07 - 1520-04-07, after a painting by

Adam and Eve Lamenting the Death of Abel. Artist: Cornelis Cort (Netherlandish, Hoorn ca. 1533-1578 Rome); After Frans Floris I. Dimensions: sheet: 13 1/4 x 17 in. (33.6 x 43.2 cm). Publisher: Published by Adriaen Collaert (Netherlandish, Antwerp ca. 1560-1618 Antwerp). Date: 1564. Museum: Metropolitan Museum of Art, New York, USA.

Leonhard Beck's 1517 woodcut, Figure 92 from 'Theuerdank', depicts Theuerdank on horseback engaging an enemy knight in a lance duel, showing armored combat and dynamic movement.

Antwerp, Galle, Philips, Florence, Straet, Jan van der, Wierix, Antonie (II), In quibus omne genus venationis, aucupij, piscatusque, Hunting scenes, Rabbit hunt, verso middle - stamped, Rabbits are chased out of their holes with smoke, after which they are caught in traps by hunters and killed. The print has a Latin caption and is part of a 43-part series on hunting., print, prints, width 282 mm, height, 206 mm, South Netherlands, 1537 - 1612-03-29, print maker, printmaker, 1578 - 1578, paper, engraving, engraving (printing process), Southern Netherlands, 1559 - 1604-03, Work conception, 1523 - 1605-11-02, after a design by, Publication (Event), Publication, publisher

This 1533 woodcut by Hans Schäufelin depicts the biblical story of Cain killing Abel, showing figures, gestures, violence, and early 16th-century German printmaking.

Jan Gossaert, Cain Killing Abel Cain Killing Abel

Hercules and Cerberus. Nicolo Van Aelst (Flanders, 1527-1612)Antonio Tempesta (Italy, Florence, 1555-1630). Italy, 1608. Prints; etchings. Etching

Rebekka and Eliezer at the Bron, Adriaen Collaert, After Hans Bol, 1582 - 1586 print Hilly landscape with a river and a city. A castle on the right on a hill. In the foreground rebekka that gives Eliezer water to drink from a jug. On the left a fountain. On the right a caravan camels. In ornament's edge with flowers and fish in the middle and under. Birds in the corners. No. 3 from series of 24. The print has an ornament list with flowers and animals. He is part of a four -legged -part series of landscapes with Biblical, mythological scenes and hunting scenes. Antwerp paper engraving Rebekah draws water for the camels. well. hoofed animals: camel. landscape with bridge, viaduct or aqueduct. fishes (+ ornamental variants of animals). ornamental birds

Psyche Going to Seek the Golden Wool. Master of the Die (Italian, active c. 1530-1560); after Michiel Coxcie I (Flemish, 1499-1592); in turn, inspired by Raffaello Sanzio, called Raphael (Italian, 1483-1520). Date: 1530-1541. Dimensions: 200 x 235 mm (plate); 270 x 370 mm (sheet). Engraving in warm brown ink on cream laid paper. Origin: Italy. Museum: The Chicago Art Institute, USA.

The prodigal son has squandered his inheritance and works for a farmer as a swine keeper. He kneels among the pigs and eats with them from the feeder. In the background left he can be seen praying, The Prodigal Son as a Pig Keeper Parable of the Prodigal Son , print maker: Philips Galle, (mentioned on object), Maarten van Heemskerck, (mentioned on object), publisher: Theodoor Galle, (mentioned on object), print maker: Haarlem, publisher: Antwerp, c. 1596 - c. 1633, paper, engraving, h 207 mm × w 250 mm

Plate 26: Psyche enters the underworld giving an offering to Cerberus, with two elderly women at left, from the Story of Cupid and Psyche as told by Apuleius. Artist: Master of the Die (Italian, active Rome, ca. 1530-60); After Michiel Coxie (I) (Netherlandish, Mechelen ca. 1499-1592 Mechelen). Dimensions: Sheet: 10 1/4 × 15 13/16 in. (26 × 40.2 cm)Plate: 7 11/16 × 9 1/8 in. (19.5 × 23.2 cm). Publisher: Antonio Salamanca (Salamanca 1478-1562 Rome). Series/Portfolio: The Story of Cupid and Psyche as told by Apuleius. Date: 1530-60.This book contains 32 plates bound together, 3 of which are by Agostino Veneziano. Museum: Metropolitan Museum of Art, New York, USA.

Rudolf II of Habsburg (German Emperor), Sadeler, Johann (I), Barendsz., Dirck, Keulen, The four continents, Europe, verso lower left - stamped, The female personification of the continent of Europe in the foreground. In her hands the horn of plenty. On her head she wears a crown as queen of the world. In the background a European landscape with a European-dressed couple and some native animals such as cows and horses. The print has a Latin caption and is part of a four-part series with personifications of the four continents., print, prints, height 182 mm, width 230 mm, Southern Netherlands, 1550 - 1600-08, print maker, printmaker, 1581 - 1581, paper, engraving, engraving (printing process), Work conception, Northern Netherlands, 1534 - 1592-05-26, after a design by, Publication (Event), Publication, publisher, 1552-07-18 - 1612-01-20, granter of privilege

Cloelia steekt of Tiber Over, Niccolo Vicento, after Maturino Da Firenze, 1608 print Cloelia escapes with a stolen horse from the camp from the Etruscans to Rome. She is about to cross the Tiber River and is surrounded by companions. print maker: Italypublisher: Mantua paper Cloelia and her companions escape Porsena's camp: she crosses the Tiber on horseback and persuades her companions to swim after her Tiber. Rome

Apollo seated at the right with a lyre on his knee, pointing to a kneeling man who is about to flay Marsyas who is tied naked to a tree at left 1530-60 Master of the Die Italian. Apollo seated at the right with a lyre on his knee, pointing to a kneeling man who is about to flay Marsyas who is tied naked to a tree at left 396191

Augustus and the Tiburtine Sibyl, 1570s. Marco Angolo del Moro (Italian, c. 1537-died after 1586). Etching with engraving on paper; sheet: 27 x 39.7 cm (10 5/8 x 15 5/8 in.). The Roman Emperor Augustus and the Tiburtine Sybil (a Roman prophetess) embrace in a lush landscape. A 12th-century legend told that Augustus consulted the sybil to ask if he should be deified after his death. He received a vision of the Virgin and Child, depicted above, which swayed him away from his pagan beliefs. Del Moros effortless blend of narrative and landscape was typical of works by artists from the region around Venice.

Francesco Fontebasso, Six Nymphs and Two Cupids in a Landscape, 1744 Six Nymphs and Two Cupids in a Landscape

Poverty produces humility, Theodoor Galle, After Maerten de Vos, 1587 - 1633 print The personification of poverty (pauperies), dressed in rags, sits in a winter landscape on a chair made of tree branches and straw. Behind her a poor house. At her feet there is humility (Humilitas): a girl with a shepherd's staff and a clove heart in her hands. Left in the background a poor village and beggars. The print has a Latin caption and is part of a series about the cycle of human action. Antwerp paper engraving Poverty; 'Povertè', 'Poor of Doni', 'Poor in one who had a good ingenuity' (Ripa). Vicissitudes of Life. Humility; 'Humiltè (Ripa). beggar

Table of virtues and vices of antiquity: Act�on (Dutuit 36, White 109) Cornelis II Bloemaert, said the young person (1603-1692). Table of virtues and vices of antiquity: Act�on (Dutuit 36, White 109). Burin, 1630-1633. Museum of Fine Arts of the city of Paris, small palace.

Judgment of Paris. Landscape with the judgment of Paris. Paris must judge the three most beautiful goddesses of Olympus on their beauty: Juno (with the peacock), Venus (with Amor) and Minerva (with helmet). Paris gives the golden apple of Eris to Venus. Mercury looks at heaven where the gods have collected. In the margin a two-legged caption in Latin.

Arcas, the son of Jupiter and Callisto, aims his arrow at a bear, not knowing that it is his mother. The latter had changed form fifteen years earlier. In the background right one can see how Jupiter places mother and son in the sky, like constellations, before Arcas can shoot. Below the depiction two times two lines of Latin text. This print is part of a series of 52 prints depicting stories from Ovid's Metamorphoses. This series is divided into three numbered series: two of 20 prints and one of 12 prints. This print belongs to the second series., Arcas aims his arrow at Callisto Ovid's Metamorphoses (series title), print maker: Hendrick Goltzius, (workshop of), Hendrick Goltzius, Franco Estius, Haarlem, 1590, paper, engraving, h 178 mm × w 255 mm

Blades, simon van de pass, 1612 print Landscape with the goddess Pales (Roman goddess of shepherds, agriculture and animal husbandry), surrounded by various animals. In the margin a four -line caption, in two columns, in Latin. Utrecht paper engraving other female Roman deities: Pales. groups of animals

The rich man led by devils to hell; Parable from Lazarus and the rich man. Three devils stand at the entrance to hell in a rock, three others come up with the rich man. Under the performance The text: Divitem Epulonem Apud Inferos Sepultum Hec Tabella Refert Luc 16. Fourth print from a series of five copies.

Apollo and Daphne; Mythological performances in landscapes. The loving Apollo chases the fleeing Nymph Daphne, whose arms are already changing in branches. The river god Peneus, Daphnes father, lies on the bank of the river, resting on its urn. Putti view the scene from the air and from the ground. Under the image an explanatory text in French. Scene from Ovid 'Metamorphoses (with. I, 452 et al.).

Bacchus and Minerva; Compendium Operum Virgilianorum. Landscape with Bacchus and Minerva, surrounded by animals. In the margin a four-line caption, in two columns, in Latin.

Allegorie op de inval van de Fransen en de bevrijding door Willem III.Allegory on the raid of the French and the liberation by Willem III. On a hill is a soldier behind a burnt offering. Behind him, an eagle (Germany), a lion (the Netherlands) and a unicorn (England). Allegorical figures are in the foreground. A man continues a woman's burning torch, another has killed a man and a boy. On the right a woman with a bag of money.

Agamemnon's dream, Crispijn van de Passe (I), 1613 print Jupiter seduces Agamemnon, the commander of the Greek troops, in a dream to fight the Trojanen again. In the background Odysseus with the Greek troops. In the margin a four -line caption, in two columns, in Latin. Utrecht paper engraving the dream of Agamemnon: Morpheus, in the shape of Nestor, urges him to attack (+ variant). (story of) Ulysses

Allegory of the Flourishing State of the United Provinces 1602 Jan (Pietersz.) Saenredam Netherlandish. Allegory of the Flourishing State of the United Provinces. Jan (Pietersz.) Saenredam (Netherlandish, Zaandam 1565-1607 Assendelft). 1602. Engraving. Prints

Triumph of Bacchus, D. Brunn, After Anthony Van Dyck, 1628 print Print Maker: Strasbourg (France) Publisher: Antwerpgenuenua paper engraving triumph of Bacchus; 'Carro di Bacco' (Ripa). beasts of prey, predatory animals: leopard

The rape of Caenis, Antonio Tempesta, 1606 print Neptunus is aging Caenis. Two hippocampuses in the water. Title in Latin in STUDMARGE. print maker: Italypublisher: Antwerp paper etching Neptune ravishes Caenis. transgender, transsexual

Death of Absalom. Absalom remains in the branches with his hair when he drove under a tree with his mule. His ridingier continued. Absalom was an easy prey for Davids soldiers. He was killed by Joab. The print is part of an album.

Bacchus and Ampelus, Pieter Serwouters, Jacob Matham, 1616 - 1657

. The fight between Aeneas and Diomedes. Aeneas is assisted by Venus and Amor, who estimates on the side of the Trojans. Diomedes receives help from Minerva, which is accompanied by the owl. In the margin a four-line caption, in two columns, in Latin.

Amsterdam, Visscher, Claes Jansz. (II), Mander, Karel van (I), Gheyn, Jacob de (II), Theatrum Biblicum Hoc Est Historiae Sacrae Veteris et Novi Testamenti Tabulis Aeneis Expressae, History of Moses before the Exodus, Moses and Jethro, Moses says goodbye to his father-in-law Jethro to return to Egypt. Shepherds on the left. Below the scene a reference in Latin to the Bible text in Ex. 4:18. This print is part of an album., print, album sheet, prints, height 197 mm, width 274 mm, 1565 - 1629-03-29, print maker, printmaker, 1588 - 1592, paper, papier, engraving, engraving (printing process), Work conception, Southern Netherlands, Northern Netherlands, 1548-05 - 1606-09-11, after a design by, Publication (Event), Publication, 1586 - 1652-06-19, publisher

The Warriors. Master M.Z.; German, active 1500-1550. Date: 1495-1505. Dimensions: 123 × 153 mm (sheet trimmed within plate mark). Engraving in black on ivory laid paper. Origin: Germany. Museum: The Chicago Art Institute, USA.

Hercules and Cerberus: Hercules grasps the collar of Cerberus, two demons appear at left, from the series 'The Labors of Hercules' 1608 Antonio Tempesta Italian. Hercules and Cerberus: Hercules grasps the collar of Cerberus, two demons appear at left, from the series 'The Labors of Hercules'. Antonio Tempesta (Italian, Florence 1555-1630 Rome). 1608. Etching. Prints

The Insane Athamas Killing Learchus, While Ino and Melicertor Jump into the Sea. Wilhelm Janson (Holland, Amsterdam)Antonio Tempesta (Italy, Florence, 1555-1630). Italy, published 1606. Prints; etchings. Etching

Rebekah and elozer at the source; Landscapes with biblical, mythological scenes and yacht scenes. Hilly landscape with a river and a city. Right on a hill a castle. In the foreground Rebekah that releases eliezer water from a jug. On the left a fountain. Right a caravan camels. In ornament edge with flowers and fish in the middle and underneath. Birds in the corners. The print has an ornament list with flowers and animals. He is part of a twenty-four series of landscapes with biblical, mythological scenes and yacht scenes.

The Furiën Visit Tereus and Procne during their wedding night, Crispijn van de Passe (I), 1602 - 1607 print Tereus and Procne in their marriage bed, above which the accident is breeding owl. The sturios wear the wedding torches that were torches that predict an imminent death. In the margin a four -line caption, in two columns, in Latin. Cologne paper engraving (Story of) Philomela and Procne - Love-Affairs. Furies, diae (erinyes), euminedes; 'Furie' (ripa)

Adam and Eve Forced to Work, pl. 7 from the series TheGenesis. Artist: Étienne Delaune, French, ca. 1518/19-1583

Edouard Eckman after Jacques Callot, Peasant Defecating, 1621 Peasant Defecating

Falcon hunt for ducks and geese; Hunting scenes; VENATIONES FERARUM, AUIUMENT, PISCIUM PVGNAE BESTIARIORUM. With a small pond, hunting is made on ducks and geese. The birds are startled by music and scared, so that they are an easy prey for a huntalk. The print has a Latin caption and is part of a series about yacht scenes.

Antwerp, Galle, Theodoor, Sterre, Johannes Chrysostomos van der, Cornelis (I), Saint Norbert is struck by lightning, During a ride, lightning strikes right in front of Saint Norbert's horse. He falls from his horse and hears God admonishing him and bringing him to his senses. The print has two Latin inscriptions: one above and one below the image., print, book illustration, prints, height 152 mm, width 93 mm, South Netherlands, 1576 - 1650-03-29, print maker, printmaker, 1622 - 1622, paper, engraving, engraving (printing process), 1591 - 1652, writer, Publication (Event), Publication, 1571 - 1633, publisher

Jakobs ladder; Landscapes with biblical, mythological scenes and yacht scenes. Landscape with a river. In the foreground on the left the sleeping Jacob. He dreams of climbing angels from the sky through a ladder up and down. The tetragram on top of the clouds. The print has an ornament list with flowers and turtles. He is part of a twenty-four series of landscapes with biblical, mythological scenes and yacht scenes.

The Rich Man Transported to Hell, from The Parable of the Rich Man and Lazarus, from The Parable of the Rich Man and Lazarus. Artist: Heinrich Aldegrever (German, Paderborn ca. 1502-1555/1561 Soest). Dimensions: Sheet: 3 1/8 × 4 5/16 in. (8 × 10.9 cm). Date: 1554.The rich man carried by winged demons at upper left, above a landscape with a city in the background below. At right, three demons with shovels digging a hole. The demon at left gestures towards the group of flying figures. Plate 4 from a series of five prints with scenes from Luke 16:19-31. Museum: Metropolitan Museum of Art, New York, USA.

Civilization is brought to the Indians, 1530; Victories of Charles V; Divi Caroli. V. Imp. opt. max. Victoriae, ex multis praecipuae.In the foreground, Spanish soldiers are skinned and considered by Indians. One of the Indians removes the organs of his victim. Indians and Spaniards are fighting a battle in the background. The print is part of a twelve-part series about the victories of Karel V.

Bear yacht; Landscapes with biblical, mythological scenes and yacht scenes. Forest landscape with bear yacht. In the foreground two bears are attacked by dogs and stabbed by hunters. The print has an ornamental list of flowers and animals. He is part of a twenty-four series of landscapes with biblical, mythological scenes and yacht scenes.

Trial follows blind desire; Abuse of the process. Blind desire (cupid with a pocket over the head) the monstrous figure process (lis) goes for, which is carried by opinion and will. The row is closed by my and dine. Extensive caption in Dutch, German and Latin. This print is part of a series of eight prints about greed, deception and litigation.

Aeneid, 1658. After Francis Cleyn (German, 1582-1658), Pierre Lombart (French, 1612-1682). Engraving; sheet: 25.8 x 19.8 cm (10 3/16 x 7 13/16 in.); image: 25.8 x 19.8 cm (10 3/16 x 7 13/16 in.).

Aeëtes Gathers the Limbs of Absyrtes (Tandis qu'il fait les membres ramasser, Grecs font devoir de leurs voiles haulser...) 1563 René Boyvin French Absyrtus' limbs presented in a wrapped cloth to his father, who stands on the deck of a ship, the composition is surrounded by a rectilinear frame with twisting male figures, fruits of the earth, scrollwork, and animals, from the series 'Tale of Jason and the conquest of the Golden Fleece' (Histoire de Jason et de la conquête de la toison d'or). Aeëtes Gathers the Limbs of Absyrtes (Tandis qu'il fait les membres ramasser, Grecs font devoir de leurs voiles haulser...) 397256

Fishing at the dry to air, in the background a man on a high tower, Jan Luyken, 1689 print Amsterdam paper etching fishes. tower, clock tower ~ monumental adornment

Plate 6: The Giants Attempting to Storm Olympus (Gigantomachia), from Ovid's 'Metamorphoses' Antonio Tempesta Italian 1606

Jupiter calms Venus and Juno, Crispijn van de Passe (I), 1612 print Jupiter calms Venus and Juno, who are on the side of the Trojans and the Greeks respectively. On the left in the background the battle in which Pallas, Lausus and Mezentius die. In the margin a four -line caption, in two columns, in Latin. Utrecht paper engraving Pallas' heroic deeds. Lausus is killed by Aeneas

Man is robbed by the Rovers, Heinrich Aldegrever, 1554 print A man lying on the floor is stripped of his clothes by a robber. Three other robbers have their money and possessions. Under the show The text: Homo Descendens Ierusolima Incidit in Latrones Luc. 10. First print from a series of four. Germany paper engraving the traveller is attacked by robbers ~ parable of the good Samaritan

Plate 3: The Age of Gold (Aetas aurea), from Ovid's 'Metamorphoses'. Artist: Antonio Tempesta (Italian, Florence 1555-1630 Rome). Dimensions: Sheet: 4 1/8 × 4 5/8 in. (10.4 × 11.8 cm). Date: 1606. Museum: Metropolitan Museum of Art, New York, USA.

Silenus Driving on a Donkey, Giulio Bonasone, After Perino del Vaga, 1501 - 1580 print Silenus is sitting on a donkey and is supported by a man and a saat. There is a lion next to the donkey and behind the donkey there is a young sater with a jug. In the background on the right three figures and a donkey around a tree. Italy paper engraving ass, donkey. (story of) Silenus

Catching geese, Jan van der Straet, called Stradanus, Flemish, 1523-1605, Cornelis Galle I, Flemish, 1576 - 1650, Philips Galle, Flemish, 1537 - 1612, Black ink on paper, Horizontal rectangle. Using decoys to capture geese. The decoys are worn on the head, while the hunter immerses himself in the water, leaving only the bird-shaped headgear on the surface. Bearing a substance which attracts the birds, the alight and are caught by hand. One hunter walks from the water, right, wearing his decoy hat and carrying two birds. At lower left: 'Ioan. Stradanus invent.'; left center: 'Corn. Galle Sculp.'; lower right: 'Phls. Galle excud.' Below: 'ANSERUM AGRESTE GENUS...', Netherlands, ca. 1595, figures, Print, Print

Workshop of Hendrick Goltzius, after Hendrick Goltzius, Apollo Entrusting Chiron with the Education of Asclepius, 1590 Apollo Entrusting Chiron with the Education of Asclepius

PREEDY OF JOHNER THE BASTER. John the Baptist is in a landscape and appeals to a crowd. In the background right, soldiers approaching on horseback.

Jan Pietersz Saenredam, Allegory of Flourishing State of the United Provinces, 1602 Allegory of Flourishing State of the United Provinces

The Apocalyptic Riders, from The Apocalypse. Artist: Hans Burgkmair (German, Augsburg 1473-1531 Augsburg). Dimensions: Sheet: 6 7/16 × 5 1/16 in. (16.3 × 12.9 cm). Published in: Augsburg. Publisher: Silvan Otmar (German, active Augsburg, 1513-40). Series/Portfolio: The Apocalypse. Date: 1523-24.Plate 3 from a series of 21 woodcuts with scenes from the Apocalypse for Martin Luther's translation of the New Testament. Four editions were published in Augsburg by Silvan Otmar between March 1523 and April 1524. Museum: Metropolitan Museum of Art, New York, USA.

Italy, Schiaminossi, Raffaello, Attributi dell'Anima, Attributes of the soul, Sanguine Man and Happiness, Two representations of personifications. Left: the Sanguine Man (Vir Sanguineus) as a young man with a lute. At his feet a ram, eating from a plant. Right: Happiness (Laetitia) as a woman with a jug and a drinking bowl. Both representations with two Italian lines of verse in the lower margin., print, prent, prints, prenten, height 151 mm, width 228 mm, Italian, 1572 - 1622, print maker, prentmaker, 1605 - 1605, paper, papier, etching, etchings, plaattoon, Work conception, after own design by

Farnese, Alessandro.

The big flood; Metamorphoses from Ovid. Jupiter lets a huge rain cloud burst over the earth. Deucalion, the son of Prometheus, and his wife Pyrrha escaping, by building an ark, to the destruction of humanity. In the margin a four-line caption, in two columns, in Latin.

Hans Sebald Beham (1500-1550). "Hercules' work: Hercules and Centaure, n ° 2. (Hollstein (Volume 3, page 67); Bartsch 97)". Chisel. 1542. Museum of Fine Arts of the City of Paris, Petit Palais. 123049-5 Chisel, 16th 16th XVI 16th 16th 16 Center

Terugkeer Van Vulcan met Bacchus, Jacob Matham, after David Vinckboons, 1616 print Bacchus in his car drawn by leopards, accompanies Vulcanus who returns back on a donkey to the Olympos where Juno and Jupiter welcome him. Under the clouds the island of Lemnos, where he ended up when he was thrown by Jupiter of the Olympos. Book illustration for: Lof-Sanck van Bacchus, 1616. Amsterdam paper engraving / letterpress printing Vulcan's return to the Olympus with Bacchus and his train (+ variant)

Two pairs of farmers dancing, Anonymous, Pieter Jansz. Quast, 1623 - 1703.

God creates water and land, attributed to Symon Novelanus, 1577 - 1627

Mercury kills Argus; Argus a Mercurio Iugulatur; Metamorphoseon Sive Transformationum; Metamorphoses from Ovidius.Mercurius cut off the head of the sleeping argus with his sword. Juno is sitting with a peacock on clouds. In the landscape there are an ox and a herd of goats and sheep. Title in Latin in undermarge.

Two Fools Dancing from Two and Three Fools of the Carnival 1642 Hendrick Hondius I Netherlandish. Two Fools Dancing from Two and Three Fools of the Carnival 334132

Sadeler, Johann (I), Vos, Maerten de, unknown, The four winds, Meridies, South wind, verso lower left - stamped, In the sky the naked Auster, the south wind. In his right hand he holds a sprinkler, from which rain, thunder and lightning are poured over the world. Ops, the goddess of agriculture, follows him and accompanies earthly souls to heaven. In her hands all kinds of agricultural implements. In the left corner Phoenicias blows. In the right corner Libonotes blows. At the bottom an African landscape near the Nile delta. African hunters defend themselves against crocodiles. In the margin a Latin caption with an explanation about the south wind. The print is part of a four-part series on the subject of the four cardinal points., print, prints, height 252 mm, width 202 mm, South Netherlands, 1550 - 1600-08, print maker, printmaker, 1560 - 1600, paper, papier, engraving, engraving (printing process), 1532 - 1603-12-04, intermediary draughtsman, after a drawing by, Publication (Event),

Althaea kills meleager; Metamorphoses from Ovid. Althaea kills her son Meleager by throwing a branch on the fire. The Furiën had predicted at the birth of her son that he would have the same life as that branch. On the left in the background the sisters of Meleaur who mourned, Diana gave them wings. In the margin a four-line caption, in two columns, in Latin.

Italy, Raphael, Hercules and the Nemean Lion, verso - stamped, In a hilly landscape Hercules is fighting the Nemean Lion. On the right a second lion crawls into a cave and in the foreground lies the club of Hercules., print, prent, prints, prenten, height 297 mm, width 412 mm, print maker, prentmaker, 1493 - 1493, 16th century, 16e eeuw, paper, papier, houtsnede, Work conception, 1483-04-07 - 1520-04-07

Arcas aiming his arrow at Callisto, Hendrick Goltzius, Franco Estius, 1590.

Asia; The four continents. The female Personification of the continent Asia is sitting on a landscape camel. She waves with a barrel incense. On the right in the background giraffes, dromedaries, rhinos and elephants. At the left A battle. The print is part of a four-part series with personnifications of the four continents.

Cruelty; Crvdelitas; A vice and virtue. The female personification of cruelty (CRUDELITAS) is sitting on a bag where the collected grain out. She hands over a bread with a fish to a dog, and a stone with a snake to a young child. In the tree behind her is a owl with a burning heart in his beak. On the left in the background a river with a rapid acceleration. On the right in the background a face on a village. On a field a woman drops food for the pigs. In the margin a six-line explanatory poem in Dutch, Latin and French.

Zomer, Philips Galle, After Jan van der Straet, c. 1578 - c. 1582 print Central to a cartouche an image of fishermen and farmers. In the foreground, the workers are resting and eating. The print has a Latin caption and is part of a series about the four seasons. print maker: Antwerpafter design by: Florencepublisher: Antwerp paper engraving summer ~ human activities (the four seasons of the year). molluscs: oyster. fresh-water fishery. agriculture

Vignette. Chant septième. Le nom de Dieu et sa Justice apparaissent dans le ciel aux yeux du monde, 1728., 1728., Londres, France. History Wars of the Huguenots, 1562-1598; Henry IV, King of France, 1553-1610. Engravings

Jupiter changes the Cercopes to monkeys, Antonio Tempesta, 1606 - 1638 print Jupiter turns the Cercopes into monkeys. Title in Latin in STUDMARGE. paper etching (story of) Jupiter (Zeus). monkeys, apes

Plate 28: Mars on horseback at center, and Romulus and Remus with the wolf at lower left; from Guillielmus Becanus's 'Serenissimi Principis Ferdinandi, Hispaniarum Infantis...'. Artist: Jacob Neeffs (Flemish, Antwerp 1610-after 1660 Antwerp). Dimensions: Sheet (Trimmed): 11 3/4 × 15 1/16 in. (29.9 × 38.2 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 li

Landscape with father time and personification of troll and activity; Diligentiæ et Sedvlitatis Typvs; Use and abuse of time. Landscape with father time, as a naked winged man with scythe and hourglass, and the female Personification of Vlijt (diligents) and activity (sedulitas), with spider skirts. In the foreground a bird that feeds her boy, ants and a chicken with her chicks, who symbolizing care and diligent. On the left in the background practicing science astronomy and on the right in the background manufacturing wool. In the margin an eighty caption, in two columns, in Latin that refers to the virtues. Below a two-person caption with an assignment in Latin.

Solis, Virgil, Amsterdam, Witsen, Nicolaes Cornelisz., Metamorphoseos liber primus, Scenes from the first book of Ovid's Metamorphoses, Ovidii Metam. Lib. I Aetas aurea III, Golden Age, verso lower right - stamped, Imagination of life during the Golden Age. Naked men and women caress each other and pick fruit in an idyllic landscape. Below the scene a four-line explanation in Latin., print, prent, prints, prenten, height 86 mm, width 87 mm, Noord-Nederlands, 1641-05-05 - 1717-08-10, print maker, prentmaker, 1659 - 1659, paper, papier, etching, etsen, Work conception, Duits, 1514 - 1562-08-01

Allegory of Life, 1561. Giorgio Ghisi (Italian, 1520-1582). Engraving; image: 38.1 x 54.4 cm (15 x 21 7/16 in.); secondary support: 43.1 x 59.4 cm (16 15/16 x 23 3/8 in.). This engraving presents a complex allegory whose complete meaning remains unclear, although the plaques at the feet of the man and woman may provide one clue. The inscriptions come from the sixth book of Virgils Aeneid: "He who sits unfortunate will sit forever," and "Do not yield to adversities, but go out to meet them bravely." The prints details do not correspond directly to any episode from Virgil, although book six, in which Aeneas descends into the underworld, is an allegory of human life. A similar theme could be suggested here, communicating an essentially hopeful message of overcoming tribulation.

Hans Sebald Beham (1500-1550). "Parable of the prodigal child, n ° 3. (Hollstein (volume 3, page 30); Bartsch 33)". Chisel. 1540. Museum of Fine Arts of the City of Paris, Petit Palais. 123048-15 Chisel, 16th 16th XVI 16th 16th 16 Center

Jacques Callot (1592-1635). "Notre-Dame de l'Annonciade de Florence miracles", "Hercules d'Este". Ninth issue of a suite of 42 pieces (Lieure 86, Meaume 268). Froz, 1615-1619. Museum of Fine Arts of the City of Paris, Petit Palais. 99595-5 Burin, Gravure

The two elders are tied to a tree and stoned to death by four executioners. In the margin a two-line caption in Latin. Fifth print in a series of six on the history of Susanna, Stoning of the elders The history of Susanna (series title), print maker: Crispijn van de Passe (I), (mentioned on object), Maerten de Vos, (mentioned on object), publisher: Crispijn van de Passe (I), (mentioned on object), Antwerp, 1574 - 1637, paper, engraving, h 100 mm × w 128 mm

Labor is rewarded with food and clothing; Rewards for labor and trout. Labor (Labor) is diligently working and digs into the ground with a shovel. His wife Vlijt (diligents) faces, a hourglass in hand. In the middle there are two sons: foods (victus) and clothing (amictic). The Cornucopia and an animal coat float over their heads. The print has a Latin caption and is part of a series about the rewards of human labor.

Psyche, Thinking to Appear More Beautiful..., Opens the Fateful Box 1530-1540 Italy. Engraving in warm brown ink on cream laid paper . Master of the Die

Title page for the pamphlet: Europe Never for one, 1702, Romeyn de Hooghe, 1702 print A lion (William III) and a fox cut the nails and break the teeth of the tiger (France), the eagle (empire) looks approvingly. The power of France in Europe by William III and the empire curtailed. In the background an obelisk with inscription in Latin. Title is on a separate text sheet. Netherlands paper etching / engraving

Hunting for the woodcock; Yacht and fishing; VENATIONES, PISCATIONES ET AUCUPII TYPI. Hunters have a nice tense and catch a few wood cuts. Another hunter has caught a woodcut through a bow. The print has a Latin caption and is part of a series of 54 prints.

Willem van Oranje as Sint-Joris, ca. 1577, Marcus Gheeraerts (I) (attributed to), c. 1577 print Willem van Oranje defeats the dragon of the Spanish tyranny in the role of Sint-Joris on horseback and saves the Netherlands in the role of the princess with the Lamb (the Christian Church), ca. 1577. Presentation in the form of a group group A pedestal. In the middle of the pedestal an inscription of 9 lines in Dutch. Around this, weapon trophies, the weapons of Holland and Zeeland, fighting ships in the water and two Christian emblems. On either side the legends A-Z and A-G in Dutch. Southern Netherlands paper etching St. George and the dragon: dressed in armour and mounted on a (white) horse he brandishes his sword (his lance lies already broken on the ground); the princess nearby may be shown praying or fleeing. the True Church vs. the False Church, heresy or sectarianism; schism

Master of the Die (Italian, born ca. 1512, active 1532/1533) after Giulio Romano (Italian, probably 1499 - 1546). Cybele on her Chariot, 16th century. Engraving.

The Virgin seated on clouds being crowned by angels. Artist: After Raphael (Raffaello Sanzio or Santi) (Italian, Urbino 1483-1520 Rome); Master of the Die (Italian, active Rome, ca. 1530-60). Dimensions: sheet: 9 1/16 x 7 7/8 in. (23 x 20 cm). Date: 1530-60. Museum: Metropolitan Museum of Art, New York, USA.

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