Mythological Allegories and Figures

Intricate engravings depicting allegorical scenes involving mythological figures like Neptune, Truth, and History, showcasing dramatic expressions and rich symbolism.

Wandelaar, Jan, Noord-Nederland, Title page for: S. Feitama, Telemachus, 1763, Allegorical representation with Telemachus, verso lower left - stamped, Telemachus looks up longingly at a winged figure, to which an old man points him. He is stopped by a woman, with an incense burner in her hands. In the background, at a monument, a lion with bundled arrows, Poetry and a female figure pointing at a book. Upper left, Fame blows the trumpet, in her hands a symbol of eternity. On the right, a putto stabs himself through the heart with a dagger. In the foreground putti blowing bubbles at a goat., print, title page, prints, height 183 mm, width 145 mm, Northern Netherlands, 1690-04-14 - 1759-03-26, print maker, printmaker, 1731 - 1731, paper, etching, etchings, engraving, engraving (printing process), intermediary draughtsman

H. Catharina van Alexandria, Jan Punt, After Jacob de Wit, after Peter Paul Rubens, 1751 print The Holy Catharina of Alexandria, with palm branch and sword in the hands. Emperor Maxentius and the broken wheel at her feet. Under the oval show a inscription in Latin. Amsterdam paper etching / engraving the virgin martyr Catherine of Alexandria; possible attributes: book, crown, emperor Maxentius, palm-branch, ring, sword, wheel Carolus Borromeuskerk

Artist: Dirk Jacobsz Vellert, Flemish, 1480-85-1547, Christ Walking on theWater, Engraving, 16.7 × 12.5 cm (6 9/16 × 4 15/16in.), Made in Flanders, Flemish, 16thcentury, Works on Paper -Prints

Feder drawing by Jacob de Gheyn II depicting Christ in the atrial, showing figure, gestures, drapery, surrounding space, and composition on brownish paper with brown and black ink, around 1600.

Fall of the Giants. Date/Period: 1769. Engraving. Etching and burin on paper. Height: 320 mm (12.59 in); Width: 535 mm (21.06 in). Author: Manuel Salvador Carmona.

A cette lueur soudaine... (In the sudden gleam of light...), 1878, Barbey d'Aurevilly's 'Le Chevalier Destouches' Bourcard 91-95, etching, drypoint, and softground etching (for the grainy texture in the sky) in black on Japanese paper, plate: 17.6 x 11.5 cm (6 15/16 x 4 1/2 in.), sheet: 22.1 x 14.8 cm (8 11/16 x 5 13/16 in.), Bourcard/Goodfriend 1979, no. 93, State iv/vi, Félix-Hilaire Buhot (artist) French, 1847 - 1898

Dyck, Anthony van, Southern Netherlands, Galle, Cornelis (I), S. Angelvs Cvstos, Child with guardian angel, recto - manuscript in brown ink, An angel holds a boy by the arm and shows him the right way., print, engraving, prints, engravings, verso - stamped, Ant. van Dijck in., height 273 mm, width 195 mm, 1576 - 1650-03-29, print maker, printmaker, 1586 - 1650, paper, papier, engraving (printing process), Work conception, Flemish, Dutch, 1599-03-22 - 1641-12-09

Amsterdam, Haffman, Jacobus, Philips, Jan Caspar, Title page for: D. Gerdes, The Future World, 1746, Father Time Reveals the Last Judgement, verso under - stamped, Father Time opens a curtain that reveals a landscape with the Last Judgement. On the left in the foreground an angel leads a young man by the hand and points to the Last Judgement. Above her head a burning flame as a symbol of religious zeal. On the right in the foreground a sleeping young man surrounded by all kinds of riches. Behind him Death approaches. On a plinth below the representation the title in Dutch., print, title page, prints, height 138 mm, width 79 mm, Northern Netherlands, 1700 - 1775-04-24, print maker, printmaker, 1745 - 1745, paper, etching, etchings, engraving, engraving (printing process), Work conception, after own design by, Publication (Event), Publication, publisher

Emperor Ferdinand II on horseback (upper leaf), Aegidius Sadeler (II), 1629 print Emperor Ferdinand II is in Roman armor on a horse. He is wearing a laurel. On the left is the winged personification of steadfastness with a horn of abundance in her hand. On the right the integrity with the same attributes as Justitia. Above them different putti with bay branches, stone dining and spell tires. In the middle of an eagle for Fortuna () And some other allegorical figures. Prague paper engraving historical persons. equestrian state-portrait. Perseverance, Resolution, Determination; 'Perseveranza' (Ripa). Integrity

BALLERDER DAHL (1825-1893); Lorency Frollich (1820-1908), Illustration Til "Arngrims saying", 1852

Macbeth, Banquo and the three witches. Engraving by J. Caldwall after H. Fuseli, 23 April 1798.

Titania and Bottom with the Ass's Head. Jean Pierre Simon (British, born before 1750-c. 1810); after Henry Fuseli (Swiss, active in England, 1741-1825); published by John Boydell (English, 1719-1804); authored by William Shakespeare (English, 1564-1616). Date: 1796. Dimensions: 497 × 631 mm (plate); 593 × 891 mm (sheet). Engraving on ivory wove paper. Origin: England. Museum: The Chicago Art Institute, USA.

David Garrick as King Lear (Shakespeare, King Lear, Act 3, Scene 1) 1761 James McArdell Garrick, who spearheaded the eighteenth-century Shakespeare revival, appears here as King Lear. In the play, the king is cast out by his power-hungry daughters, and wanders on a stormy heath attended by the faithful duke of Kent, and by Edgar, disguised as Poor Tom. The image reflects Nahum Tate's revised version of the play, staged in London between 1681 and the early nineteenth century, where the role of the Fool is removed, Lear and Cordelia do not die, and the princess marries Edgar.. David Garrick as King Lear (Shakespeare, King Lear, Act 3, Scene 1) 707787

Mars; Title page for: Johannes Blaeu, Theatrvm StatvvM Regiæ Celsitvdinis Sabavdiæ DVCIS, Pedemontii Principis, 1682. The God Mars with shield, helmet and sword, sits on a base in a garden. Besides him there are all kinds of symbols of art and science. Along the water is a river god with a basket of fish. On the other side of the water is an image of the goddess of the harvest demeter. A bull can be seen in the mountains in the background. To the sky, the constellation of the Aquarius.

Juno in De Wolken, Jan Punt, 1759 print Juno is on the clouds, accompanied by two peacocks. Illustration of fabel xxxix le paon se plaignant à junon. Amsterdam paper etching / engraving specific works of literature. (story of) Juno (Hera). ornamental birds: peacock

The Calydonian Boar Hunt, from the Houghton Gallery 1781 England. Richard Earlom engraved several reproductive prints of paintings for an album celebrating Sir Robert Walpoleís art collection. As this dark, velvety proof impression demonstrates, Earlomís self-taught mezzotint skills were particularly suited to translating the painterly qualities of Peter Paul Rubensís art. Philip IV of Spain commissioned the mythological hunting scene on which this work is based as part of a series made by Rubens in 1639. The original painting was lost in 1734, while Walpoleís canvas, a copy in reverse, later entered the collection of Catherine the Great.. Mezzotint in black on ivory wove paper . Richard Earlom

Above, the martyr Vincent is tortured by being placed on a gridiron with spikes over a fire and being prodded with pliers; below, Julitta is tortured on the rack and her child hurled to the ground and killed by governor Alexander. Engraving with etching.

Allegory on Galileo Galilei, Carlo Lasinio, After Rafaël, 1769 - 1838 print Allegorical representation with two putti that holds a portrait of Galileo Galilei. On the left a winged figure with a passer, a globe and a telescope. On the right a woman with a compass. print maker: Italyafter painting by: Vaticaanstadpublisher: Rome paper engraving historical persons. symbolic representations, allegories and emblems ~ science, 'Scientia'; 'Scienza', 'Studio' (Ripa). cupids: 'amores', 'amoretti', 'putti'

Tobias and the Angel. after Tiziano Vecellio, called Titian; Italian, c. 1488-1576. Date: 1508-1576. Dimensions: 181 x 135 mm. Pen and black ink, with brush and gray wash, on ivory laid paper. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Allegory of Louis XIV, the King armed on land and at sea, 1678, by Charles Le Brun (1619-1690), preparatory sketch for the ceiling of the Hall of Mirrors in Versailles.

A chalk and feather drawing by Francesco Narice depicting the allegorical figure of Justice on gray-lavated paper with white highlights and blue background.

Illustration for William Shakespeare's play King Lear, Act III, Scene IV. From an 18th century engraving by William Sharp after a work by Benjamin West.

Lazio Roma Rome S. Andrea della Valle1. Hutzel, Max 1960-1990 Post-medieval: Architecture, frescoes, stucco, painting, sculpture, architectural sculpture, sculptural relief Object Notes: Exhibiting the passage from Counter-Reformation to Baroque, it is one of the most vast churches in Rome (the most vast with one nave), and its cupola, which measures 80 meters in heighth is the heighest after that of S. Peter's. Construction was initiated in 1591 by Olivieri, the cupola was completed in 1625 by Maderno. 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, si

Hercules kills the dragon Ladon, Jan Luyken, 1691 print Print at the top right marked: Fig. 28. print maker: Amsterdampublisher: The Hague paper etching Hercules kills Ladon, the dragon which kept the tree of the Hesperides

Battle of the Amazonen (detail), Lucas Vorsterman (I), after Peter Paul Rubens, 1623 print Antwerp paper engraving battle of Amazons; amazonomachy

Title page for Leo van Ostiense, Chronicon Casinense, Cornelis Bloemaert (II), After Raffaello Vanni, 1633 - 1692 print On the left a standing woman with a large cross and a fire in her right hand. On the right a sitting boy who fell asleep. At his feet is a rooster, attendance of vigilance. In the background the monastery of Monte Cassino. paper engraving Alertness, vigilance; 'Guardia', 'Vigilance', 'Supervision to defend yourself & oppose others' (Ripa). Favour; 'Favor' (Ripa) Abbey of Montecassino

Drawing showing Venus appearing to Aeneas as a hunter, executed in brown ink, brush, gray lavation, and black chalk, with a border line and putto detail.

Willem Basse, Caesar Crossing Stormy Seas, 1634 Caesar Crossing Stormy Seas

Hofstede, Petrus, Northern Netherlands, Allegory of the restoration of William V as stadtholder, 1787, verso - stamped, Orangist allegory of the restoration of stadtholder William V in 1787. The stadtholder, standing on a pedestal, embraces Freedom and is handed the oracle sheet (the Bible) by Religion. On the right, the virtues Prudence, Justice and Strength look on approvingly. In the foreground, Envy has been defeated by a national hero and the Dutch Lion, while in the background on the left is the temple of honour and virtue. With two-column caption., print, prints, Frederik Muller Historieplaten, height 303 mm, width 230 mm, print maker, printmaker, 1787 - 1787, paper, papier, etching, etchings, engraving, engraving (printing process), Dutch, 1716-04-16 - 1803-11-27, writer

Northern Netherlands, Bolomey, Benjamin Samuel, Duboulois, Antoine P., Allegory on the acceptance of the stadtholdership by Prince William V, 1766, Allegory on the acceptance of the stadtholdership by Prince William V upon his coming of age on 8 March 1766. The prince is escorted to the seat of the stadholdership. The prince is accompanied by Piety and Truth, at the throne await Justice, Prudence and the Dutch Maiden. On the right the Angel of God drives away Discord, Fanaticism and Heresy. In the foreground geniuses play with the symbols of arts and sciences. The print comes with a text sheet with an explanation., print, prints, Frederik Muller Historieplaten, height 602 mm, width 730 mm, print maker, printmaker, 1765 - 1765, paper, papier, etching, etchings, engraving, engraving (printing process), 1739 - 1819-12-19

Dyck, Anthony van, Bolswert, Schelte Adamsz., Erection of the Cross, verso lower left - stamped, Erection of the Cross. Quoting from Luke 23, verse 33., print, prints, height 457 mm, width 340 mm, South Netherlands, 1586 - 1659-12-12, print maker, printmaker, 1596 - 1659, paper, papier, engraving, engraving (printing process), Flemish, Dutch, 1599-03-22 - 1641-12-09

Francisco Bayeu / 'The Surrender of Granada'. Ca. 1763. Oil on canvas. Museum: Museo del Prado, Madrid, España. Author: Francisco Bayeu y Subias.

Lazio Rieti Rieti S. Maria Assunta, Duomo, e Palazzo Vescovile13. Hutzel, Max 1960-1990 Medieval: Duomo, architecture (12-13th, 15th centuries). Post-medieval: Duomo and Palazzo Vescovado: Architecture, sculpture, frescoes, painting, architectural sculpture, metalwork, vestments General Notes: Hutzel combines two sites here, with no indication as to which photos or negatives belong to either site. Sites are catalogued separately in Medieval section, and entered thus in database. It is uncertain as to whether this includes objects from the Museo del Tesoro del Duomo. Hutzel photo campaign notes are undated. There is a note that there are no prints for 69-129. 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

History by Truth Teaching, Elias van Nijmegen, 1677 - 1755 drawing Design for a painting. paper. ink. watercolor (paint). pencil brush / pen Father Time, man with wings and scythe. Saturn devouring the stone, given to him by Rhea, instead of the new-born Jupiter. 'Historia'; 'Historia' (Ripa). Truth; 'Verití' (Ripa)

Last Supper; Les Plat-Fonds Ou Les Tableaux des Galleries / ceilings or gallery pieces. Last Supper; Under the octagonal show a fresh in Latin from matte. 26:20.

Lazio Roma Rome Gesu e Maria6. Hutzel, Max 1960-1990 Post-medieval: Architecture, architectural sculpture, sculpture, painting, frescoes, stucco, gilding General Notes: Located next to S. Giacomo in Augusta, built by Rainaldi in 1675. Church was built for the Bolognetti family, and has come to be called "church of the beautiful tomb monuments" (Hutzel notes), making it resemble a Baroque theater. Restoration of fresco cycle depicting life and death of a martyr from 13th century Roman school. Site has been sent in duplicate. One set of negatives (37) and two sets of prints (72). There should be one more print, but no. 15 from the original set is missing. 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

Abruzzo, L'Aquila, San Stefano di Sessanio, Parrocchiale, Italy, 20th century, photo, photography, Europe

Job's Despair. William Blake (England, London, 1757-1827). England, published 1826. Prints; engravings. Engraving on laid India (or China) paper

Witchcraft: Macbeth seeing the three witches, with other horrifying visions. Etching after J. Reynolds, ca. 1786-1790, after W. Shakespeare.

THE WELLINGTON SHIELD. 1820, Thomas Stothard, 1755 - 1834, engravings. The silver shield itself was made by Benjamin Smith. The shield commemorate the victories of the Duke of Wellington. UK, britain, british, europe, united kingdom, great britain, european

Illustration of 'Various Subjects'. Daniel Nikolaus Chodowiecki (Germany, Danzig, 1726-1801). Germany, 1779. Prints; etchings. Etching

Fight on bridge in Venice (left part mirror image). A large litter men in battle on a bridge in Venice. Storm in the background

Ruins of the antiquities in Pozzuoli, Cuma and Baja, Campania, Italy, engraving by Giovanni Volpato from a drawing by Falciatore, from Antichita di Pozzuoli - Puteolanae antiquitates (Antiquities of Pozzuoli), by Paolo Antonio Paoli, 1768, Naples.

Honoré Daumier, Les planètes étant elles mêmes dans , 19th century Les planètes étant elles-mêmes dans ...

A drawing by Louis Jean François Lagrenée the Elder titled 'Compassion,' made with pen, brown wash, and white highlights on blue paper.

William Pitts, 1790-1840, British, Helios, undated. Brown wash with scratching out on medium, cream, slightly textured wove paper.

Allegorical emblem at the Peace of Rijswijk, 1697, Anonymous, 1697 drawing Emblem with the chain of order of the garter stretched between two large rocks that protrude from the sea. Three hearts on the left rock, one heart on the right. Inscription: Unius Ductu / NEC, quod Rex Iungit, Dividit Oceanus'. Design for a decoration at the celebration of the Peace of Rijswijk in 1697. Northern Netherlands paper. ink pen / brush festivities on events of national importance (+ festive decoration ~ festive activities). coastal cliff or crag. knighthood order (GARTER)

Angel carrying Two Babies and Flying over Sleeping Cattle, Francesco Bartolozzi RA, 1728-1815, Italian, active in Britain (1764-99), after Annibale Carracci, 1560-1609, Italian, 1764, Engraving

Andrieu, Pierre (n.1821-12-12-D.1892-01-30), sketch for the peace fair of the Paris City Hall: Peace comes to console men and bring them abundance ( Main title), 1852. Oil on canvas. Petit Palais, Museum of Fine Arts of the City of Paris.

Gloves with Neptune; Large gift jug. The vase is in an oval list of small dolphins left and bottom right.

Time shows the memories of Vivant Denon; Les Souvenirs De Vivant Denon Évoqués Par Le Temps. Father time with his zeis a banner on which several self-portraits are from Vivant Denon at different ages. Standing on the Zeis try two children to stop the progress of father's time, a child pulls on the hourglass while someone else tries to stop a rope. At the bottom left of a landscape with a church and a figure embracing an angel.

Ceiling Design Depicting Iris and the Rainbow. Date/Period: 1810-25. Drawing. Pen and brown ink, brush and watercolor on off-white laid paper. Author: Felice Giani.

Moses with the tablets of the law. Draughtsman: Ferdinand Bol. Dating: 1658 - 1666. Measurements: h 408 mm × w 318 mm. Museum: Rijksmuseum, Amsterdam.

Title print for 'Cartes Marines A L'Usage des Armées du Roy de la Grande Brittany' by Romeyn de Hooghe; Atlas Maritime. A woman with a headwear of ship treasures on the head (Sea shipping personification) reads in a big book with cards, while with her left hand holding a chain to which two mermaids are bound. On the center plan and the background the columns of Hercules between which a coat of arms are tense, and atlas that teat the sky-vibrant to the mountains mentioned at him.

A hope for the new year ...(TI)

William Blake, Job's Despair, 1825, engraving on chine collé on cream wove paper.

Neptune raising James Cook (1723-79) English navigator, explorer and hydrographer to immortality, and Fame writing his name in the book of history. In foreground inhabitants of America, Africa and Asia pay homage to Britannia., Allegorical copperplate engraving by John Neagle (fl1789-1816) and W Gra

Allegory of the Roman Catholic Church. Draughtsman: anonymous. Dating: 1600 - 1800. Measurements: h 272 mm × w 163 mm. Museum: Rijksmuseum, Amsterdam.

Autumn Autumnus (title on object) The four seasons (series title), Bacchus sits on a cloud as personification of autumn and is surrounded by three personified months that carry vines and other seasonal fruit. Bacchus is partially covered with a tiger skin and crowned with vine leaves and grapes, in his left hand he holds a cornucopia. The print is part of a four-part series of prints over the four seasons., Autumn, fall, 'Autumnus', 'Autunno' (Ripa), (story of) Bacchus (Dionysus), Liber, Gerard de Lairesse (mentioned on object), 1675, paper, etching, h 224 mm × w 301 mm

Bliżej Kultury Dębski, Józef (1803 Ca 1839)

Lazio Frosinone Certosa di Trisulti Certosa di Trisulti, Monastery (S. Bartolomeo). Hutzel, Max 1960-1990 Interior views of church, including Coro dei Padri, Coro dei Conversi, presbytery (with main altar). Details of carved choir stalls, paintings, frescoed ceilings. 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.

Title page for: P. Verhoek, Karel de Stoute Treurspel, 1726. Justitia is sitting on a throne and is crowned dry two floating putti. At her feet a women's figure and a man in a harness.

Louis XIV (king of France), Stella, Jacques, France, Landry, Pierre, Title page for: Philippe Labbé and Gabriel Cossart, Sacrosancta Concilia ad Regiam Editionem Exacta, 1672, Personification of the Church Conquering the Pagans chases away, verso - stamped, print, title page, prints, engravings, height 357 mm, width 227 mm, French, 1630 - 1701-12-11, print maker, printmaker, 1672 - 1672, paper, engraving, engraving (printing process), Work conception, 1596 - 1657-04-29, after a design by, 1638-09-05 - 1715-09-01, granter of privilege

Lazio Viterbo Caprarola S. Teresa0. Hutzel, Max 1960-1990 Post-medieval: 17th century architecture (1620), architectural sculpture sculpture, woodworking, stucco, painting 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.

The Happy Accident of the Swing Made 1792 France. Fragonard painted his masterpiece, The Swing after another artist had refused the risquÈ commission offered by a gentleman of the English court who wanted a portrait of himself surreptitiously observing his mistress on a swing. The result epitomized the themes and unapologetically decorative flounces of the Rococo style. In this print the airy textures of the painting have been transformed into elegantly engraved patterns befitting the motion, outdoor setting, and eroticism of the scene.. Engraving in black ink on ivory laid paper . Nicolas Delaunay

Design for a Ceiling, Pen and Chinese ink, graphite on paper, The zodiac with the twins are at the center of the composition. In the right corner, Auora and a puti are seated on clouds with an overflowing urn., France, 1780-1795, Drawing, Drawing

Allegory of indivisibility, 1795, Hendrik Roosing, after August Christian Hauck, after Cornelis Bakker, 1795 print Allegory of indivisibility, 1795. Freedom and abundance standing next to an altar. This unit is deceived by trick, discord and envy, but protected by angels and accelerating civilian watch. In heaven the all -sighted eye, in the foreground two river gods. The print includes a leaf with an explanation. print maker: Netherlandspublisher: Rotterdam paper etching / engraving Agreement, Unity; 'Concordia', 'Concordia insuperabile', 'Concordia militare', 'Concordia di Pace', 'Unione civile' (Ripa) (+ two or more personifications pursuing one aim). Freedom, Liberty; 'Libertí' (Ripa) (+ abstract concept represented by female figure). 'Cornucopia', Horn of Plenty

Drawing, Crucifixion; Felice Giani (Italian, 1758-1823); Italy; pen and ink, brush and wash on paper

TIEPOLO, Giovanni Battista (1696-1770). Venus and Vulcan. 1762 - 1766. SPAIN. Madrid. Royal Palace. Decoration of the ceiling of the Halberdier's Hall. Venus entrust Vulcan to forge Aeneas' weapons. Baroque art. Fresco.

Tempest, Act 1, Scene 1 - the storm and shipwreck at the beginning of Shakespeare's play "Tempest" ; Prospero and Miranda are standing on the right on the island where the shipwrecked sailors wash ashore.

Two men, one in a three-cornered hat are riding on the back of a giant cockerel, a woman carrying a large jar and goblet is dancing alongside them. Lithograph.

Amsterdam, Goethals, Rembertus, Someren, widow Joannes van, Boom, Hendrick and widow Dirk, Janssonius van Waesberge, Johannes (II), Wolfgang, Abraham, Title page for: Olfert Dapper, Morea and the nearby Islands both outside and within the Gulf of Venice, 1688, Allegorical representation with Minerva, Mercury, Neptune and Hercules, verso - stamped, A woman with a tablet with title sits on a capital. To her left are Minerva with a lance and shield and Mercury with a caduceus. On the right Neptune sits by the water with his trident. On the left between four columns stands Hercules with the many-headed serpent Lerna. Above flies an angel (possibly Faam) with a portrait medallion. On the left in the clouds sits Juno with a peacock. In the background ships sail on the sea., print, engraving, title page, prints, engravings, height 268 mm, width 172 mm, print maker, printmaker, 1688 - 1688, paper, etching, etchings, Publication (Event), Publication, Northern Netherlands, publisher, Expression

On verso: view of city with wall and classical edifices; edifice and portico. Date: 1818. Pen and ink, brush and brown ink, on paper. Museum: Cooper Hewitt, Smithsonian Design Museum.

Disciples Catching the Mantle. James Gillray (English, 1756-1815); published by Hannah Humphrey (English, c. 1745-1818). Date: 1808. Dimensions: 380 × 330 mm (image); 405 × 340 mm (plate); 430 × 375 mm (sheet). Hand-colored etching on paper. Origin: England. Museum: The Chicago Art Institute, Chicago, USA.

Bliżej Kultury Voysard, Etienne Claude (1746 Ca 1812), Borel, Antoine (1743 Post 1810), Blanchon, Jean Andre

Sturm u, Taking the star barrel in the hunter line at the entrance of the Prater, on October , Vinzenz Katzler -, Lithographer, Ludwig Christian Förster -, printer

Cupids and Dolphins. Artist: French Painter , 18th century; Manner of François Boucher (French, Paris 1703-1770 Paris). Culture: French. Dimensions: Overall: 48 × 56 3/4 in. (121.9 × 144.1 cm). Date: 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Light Expelling Darkness,-Evaporation of Stygian Exhalations,-or-The Sun of the Constitution, Rising Superior to the Clouds of Opposition. James Gillray (English, 1756-1815); published by Hannah Humphrey (English, c. 1745-1818). Date: 1795. Dimensions: 335 × 444 mm (image); 350 × 451 mm (plate); 367 × 472 mm (sheet). Etching in dark brown, with handcoloring, on cream wove paper. Origin: England. Museum: The Chicago Art Institute, USA.

Lebas, Jacques-Philippe, inventor: Rembrandt, Ristiltäotto, 1775, copper engraving, graphics, plate width 21.7 cm, plate height 29, 8 cm, leaf 31.8() width 23 cm, image width 20.2 cm, image height 25.9 cm

Nobleness; Passe Tems des Artists, Ou Collection d'Esquises Originaux des Celebres et Plus Fameuses Peintres et sculpturs. Fragment of a ceiling painting (possibly a dome decoration) with the personification of the noble with a crown in her hand on a cloud. She is surrounded by angels of which two wear a large crown. Numbered at the top right: W. 2.

Edad Media. Figura alegórica del árbol de las batallas. Discordias entre las diferentes clases sociales. Miniatura del siglo XV, de Honoré Bouet. Facsímil de 1877.

France, Paris, William Tell Helping Leuthold to Flee by Charles Chasselat (1782-1843), drawing

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