Mythological and Allegorical Prints

Engravings illustrating classical myths and allegories with dynamic figures and dramatic expressions. The compositions convey emotion and narrative depth.

Amsterdam, Yver, Pieter, The Truth of Universal History Revealed, verso - stamped, Vigilance, with a helmet on his head, Father Time, and Amor reveal the Truth of Universal History before the eyes of a young prince. In the background a statue of religion and statues of heroes from the past, including Alexander and Cesar. At the bottom in the margin a four-line text in French., print, prent, prints, prenten, height 146 mm, width 90 mm, Noord-Nederlands, 1712 - 1787-06-06, print maker, printmaker, 1737 - 1737, paper, papier, etching, engraving, engraving (printing process)

Italy, Perino del Vaga, Caraglio, Giovanni Jacopo, Loves of the Gods, The Loves of the Gods, Apollo and Daphne, verso - stamped, The naked Apollo pursues the fleeing Daphne. Her raised arms are already growing branches and leaves. In the foreground on the left lies a river god. In the bottom margin Italian verse in two columns., print, prent, prints, prenten, height 218 mm, width 138 mm, Italian, 1505 - 1565, print maker, printmaker, 1515 - 1565, paper, papier, engraving, engraving (printing process), Work conception, 1501 - 1547-10-19

Amsterdam, Yver, Pieter, The Truth of Universal History Revealed, verso - stamped, Vigilance, with a helmet on his head, Father Time, and Amor reveal the Truth of Universal History before the eyes of a young prince. In the background a statue of religion and statues of heroes from the past, including Alexander and Cesar. At the bottom in the margin a four-line text in French., print, prent, prints, prenten, height 146 mm, width 90 mm, Noord-Nederlands, 1712 - 1787-06-06, print maker, printmaker, 1737 - 1737, paper, papier, etching, engraving, engraving (printing process)

Allegory in History, Abraham de Blois, After B.L. Boulogne, 1686 - 1717 print A winged allegorical figure, possibly history, writes in a book held by Father Time. Faith, geometry and prudentia surround the pair. In the background a pyramid and palm tree. paper engraving 'Historia'; 'Historia' (Ripa). Father Time, man with wings and scythe. Fides (faith) as Roman personification. 'Geometria' (~ quadrivium); 'Geometria' (Ripa). Prudentia (Prudence) as Roman personification

Susanna and the elders, Bartolomeo Biscoino, 1642 - 1657 print Susanna, who is sitting on the edge of a basin to bathe, is harassed by two old men who are in danger of indicate to accusation of adultery if she opposes them. Italy paper etching the elders making advances towards Susanna

Equestrian Statue of Constantine the Great 1690-1740 Francesco Faraone Aquila Italian View of the equestrian statue of Constantine the Great by Gian Lorenzo Bernini in its niche by the Scala Regia in the Vatican Palace. The statue depicts the emperor at the moment when he experiences a vision of the Holy Cross, just before the battle of the Milvian bridge.. Equestrian Statue of Constantine the Great 342234

Enea Vico, The Loves of Mars and Venus The Loves of Mars and Venus

Charity, Justice, Truth, andPeace. Artist: Agostino Carracci, Italian, 1557-1602 After: Orazio Samacchini, Italian, 1532-1577

Italy, Romano, Giulio, Veneziano, Agostino, Life of Hercules, Hercules killing the snakes, recto lower right - handwritten in brown ink, The young Hercules sits on his cradle, and with his hands strangles the snakes that Juno has sent against him. On the right, Alcmene and Amphytrion look on in amazement from their bed., print, engraving, prints, verso - stamped, 6 X, height 224 mm, width 185 mm, Italian, 1490 - 1536, print maker, printmaker, 1532 - 1532, paper, engraving (printing process), Work conception, 1499 - 1546-01-11

Diana and Endymion, mid-1700s. Nicolas LeSueur (French, 1691-1764), after Sebastian Conca (Italian, 1680-1764). Chiaroscuro woodcut; sheet: 62.1 x 44.7 cm (24 7/16 x 17 5/8 in.); image: 44.7 x 31.1 cm (17 5/8 x 12 1/4 in.). Chiaroscuro drawings were executed on paper colored a middle tone. While black or brown wash was used to create shadows, white gouache (opaque watercolor) was used for highlights. In the early 16th century, German printmakers developed a method to achieve similar effects using woodcut. The outline of the image is printed in black from one block of wood, while the shadows are printed from a second block in a color. For Diana and Endymion, two blocks were used to print two shades of green. The white, unprinted areas of the paper serve as the highlights. The technique of chiaroscuro woodcuts was revived in France in the early 18th century by LeSueur.

Allegorical title page with the personification of music, Matthijs Pool, After Arnold Houbraken, 1710 print The personification of music is on an elevation, with a songbook on her lap. Apollo hands her an olive branch. Behind her is Minerva who points to the portrait of Anna Stuart, Queen of England. In the background a ship with a tied soldier. A mermaid desperately stores her arms to him. Amsterdam paper engraving / etching 'Musica', symbolic representations, allegories and emblems ~ music; 'Musica'(Ripa). specific aspects, allegorical aspects of Apollo; Apollo as patron. Minerva as patroness. notation of music

A plate from: L'Architettura Di M. Vitruvio Pollione . Galiani, M. B., active 18th century. 1710 - 1780. Marra, Francesco la, approximately 1710-approximately 1780. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Amsterdam, Picart, Bernard, Title page for: FH Aubignac, La pratique du théâtre, 1715, Apollo speaks with Melpomene and Thalia, Allegorical title page with Apollo addressing the muses Melpomene and Thalia. In the foreground a man is drawing on the ground with a compass. Behind him two busts of the Greek and Roman writers Aristophanes and Horace. In the margin a two-line caption in French., print, engraving, title page, prints, height 145 mm, width 90 mm, Noord-Nederlands, 1673-06-11 - 1733-05-08, print maker, printmaker, 1714 - 1714, first quarter 18th century, paper, papier, etching, etchings, graveren (drukprocedé), intermediary draughtsman

Print made by Bernard Lens, 1659-1725, British, Bacchus et Ariadne, undated. Mezzotint on moderately thick, moderately textured, cream wove paper.

Copper engraving by Hendrick Goltzius depicting honor and wealth, created around 1582, showing allegorical figures and symbolic representation.

Rudolf II of Habsburg (German Emperor), Matham, Jacob, Schrevelius, Theodorus, Bloemaert, Abraham, Amor and Psyche, verso lower left - stamped, print, prints, height 444 mm, width 306 mm, Northern Netherlands, 1571-10-15 - 1631-01-20, print maker, printmaker, 1607 - 1607, paper, engraving, engraving (printing process), Work conception, 1566-12-25 - 1651-01-27, after a design by, 1572 - 1653-12-02, writer, Publication (Event), Publication, publisher, 1552-07-18 - 1612-01-20, granter of privilege

Giovanni Antonio da Brescia after Raphael, Two Sibyls and an Angel, c 1520 1525 Two Sibyls and an Angel

Amsterdam, Picart, Bernard, Title page for: J. Lenfant and I. de Beausobre, Le Nouveau Testament, 1718, Christ Appears to the Personifications of the Continents, verso lower left - stamped, Christ is enthroned on a rainbow in the sky, he tramples a snake and a skull, which symbolize evil and death respectively. Above his head burns the flame of religious zeal. He proclaims the gospel to the personifications of the continents, who look up at him from the earth. On the right in the background, Idolatry flees. On the left in the background, two astonished men who symbolize Judaism. In the margin a two-line caption in French., print, engraving, title page, prints, height 220 mm, width 153 mm, Noord-Nederlands, 1673-06-11 - 1733-05-08, print maker, printmaker, 1718 - 1718, first quarter 18th century, paper, papier, etching, etchings, graveren (drukprocedé), intermediary draughtsman

Allegory on the history of Great Britain with the portrait of Isaac de Larrey, Gilliam van der Gouwen, after Bernard Picart, after Simon Thomassin, 1713 print The personification history, seated on the floor, writes the history of Great Britain together with the personification inspiration. On the right at a column the personification of Great Britain, sitting on a lion. In her hands the coat of arms of Great Britain. In the foreground, three putti try to stop the winged time, those books are tearing and eating. Above the personification fame, blowing on a portrait. She is wearing the portrait in the oval list of French historian Isaac de Larrey. In the background the city of London. The print has a French caption. Amsterdam paper engraving / etching beasts of prey, predatory animals: lion (+ animals used symbolically). personifications of countries, nations, states, districts, etc.. coat of arms (as symbol of the state, etc.). cupids: 'amores', 'amoretti', 'putti'. Father Time, man wi

Groupe de deux angelots (regardant vers la droite) Jean Morin French. Groupe de deux angelots (regardant vers la droite) 369163

Three muses. Engraving by G. Ghisi after F. Primaticcio.

Pietà. Artist: Jacques Bellange (French, Bassigny () ca. 1575-1616 Nancy). Dimensions: Sheet (trimmed): 12 3/16 × 7 13/16 in. (31 × 19.8 cm). Publisher: Le Blond (Paris). Date: 1612-16. Museum: Metropolitan Museum of Art, New York, USA.

Gesprek tussen Tijd en Geschiedschrijving; Titelpagina voor: Cornelius Nepos, Vitae excellentium imperatorum. Leiden: 1755.The personifications of time and historiography are talking to each other. History of history is on a staircase in a large hall. In addition to her a dancing angel blowing on a trumpet.

Imagination tame Father Time Title page for: JC Weyerman. The life descriptions of the Dutch art painters and art painters, 1729, Father Time, with a broken scythe in his hands, is grabbed by his wings by an allegorical female figure with a mask on her belt, the personification of art, or the imagination. On the left in the foreground two putti with the portrait of Arnold Houbraken in an oval. The personification of the imagination refers to the writer's attempt to save the artists recorded in the book from oblivion through descriptions of life. Around the performance a print of a second plate with an ornamental border in which four biblical and four mythological representations., man with wings and scythe, Imagination, 'Imaginatione' (Ripa), mask, cupids: 'amores', 'amoretti', 'putti', Jacob Houbraken, Amsterdam, paper, etching, h 147 mm × w 100 mm × h 183 mm × w 135 mm

Italy, Broeck, Crispijn van den, S. Mattheus Apos et Euangelista, Saint Matthew with angel, verso lower left - stamped, print, prints, images, height 124 mm, width 90 mm, Work conception, South Netherlands, 1524 - 1591, after a design by, 1534 - 1640, paper, engraving, engraving (printing process), print maker, printmaker

Adam and Eve Lamenting the Death of Abel. Dated: 1529. Dimensions: sheet (trimmed to plate mark): 16.3 x 11.6 cm (6 7/16 x 4 9/16 in.). Medium: engraving. Museum: National Gallery of Art, Washington DC. Author: LUCAS VAN LEYDEN.

Rest on the Flight intoEgypt. Engraver: Giorgio Ghisi, Italian, 1520-1582 After: Giulio Campi, Italian, 1508-1573

The Dead Saviour Supported by an Angel 1587 Hendrick Goltzius Netherlandish. The Dead Saviour Supported by an Angel 654661

Venus, a pigeon and three putti, Jan van Somer, 1655 - 1700 print paper (story of) Venus (Aphrodite)

Imagination Temt Father Time, Jacob Houbraken, 1729 print Father time, with a broken scyth in his hands, is grabbed by an allegorical female figure with a mask on her belt; The personification of art, or the imagination. On the left in the foreground two putti at the portrait of Arnold Houbraken in an oval. The personification of the imagination refers to the writer's attempt to protect the artists laid down in the book by life descriptions from forgotten. Around the show a print of a second plate with an ornamental edge in which four biblical and four mythological representations. Amsterdam paper engraving / etching Father Time, man with wings and scythe. Imagination; 'Imaginatione' (Ripa). mask. cupids: 'amores', 'amoretti', 'putti'

Missed with Atalante from the Head of the Calydon Boar after Rubens (Dutuit P. 35, White 69) Cornelis II Bloemaert, said the young person (1603-1692). Missed with Atalante of the Head of the Calydon Boar after Rubens (Dutuit 35, White 69). Burin, 17th century. Museum of Fine Arts of the city of Paris, small palace.

Martyrdom of Saint Lawrence 1621 Lucas Vorsterman I Flemish Having realized the potential profits to be made from reproductive engravings of his work, Rubens began to engage young printmakers from 1619 onward. Lucas Vorsterman, who had been practicing as an engraver from the age of twelve, was the first engraver to work for Rubens. In 1621, Vorsterman made this engraving, showing Rubens's painting of the Martyrdom of Saint Lawrence, which at the time was hanging in the Notre-Dame de la Chapelle in Brussels (now Alte Pinakothek, Munich). The engraving displays the painting in reverse. One of Rubens's assistants (possibly Anthony van Dyck) made the preparatory drawing for the print (see 61.88). The spectacular variations in light and dark tones, as well as the perfect mastering of the burin, make this one of Vorsterman's best prints.Rubens dedicated this print to the Antwerp humanist and namesake of the saint, Laurentius Beyerlink.. Martyrdom of Saint Lawrence 362092

Libyan Sibille; Libica; Paintings in the Sixtin Chapel. The Libyan Sibille, sitting and turned to the left. Behind her a big book that she lifts up with both hands. Links Two children with a scroll. One of the sibilles of Michelangelo's ceiling painting. Title in undermarge and numbered at the bottom right: 22.

St. Mary Magdalene Penitent. Artist: Hendrick Goltzius (Netherlandish, Mühlbracht 1558-1617 Haarlem). Dimensions: sheet: 11 5/8 x 7 15/16 in. (29.6 x 20.2 cm). Publisher: Claes Jansz. Visscher (Dutch, Amsterdam 1586-1652 Amsterdam). Date: 1585. Museum: Metropolitan Museum of Art, New York, USA. Author: HENDRICK GOLTZIUS.

Christ is being mocked by two men. One of them holds a reed in his hand. Christ is seated on a stone, his hands are bound and on his head he wears the crown of thorns. In the margin a two-line caption in Latin, Mockery of Christ., print maker: Hieronymus Wierix, (mentioned on object), Gillis Mostaert (I), (mentioned on object), publisher: Hans van Luyck, (mentioned on object), Antwerp, 1563 - before 1586, paper, engraving, h 262 mm × w 203 mm

Hyacinth of Poland, holy.

Abraham van Diepenbeeck depicts St. Katharina in a clearing, drawn in black chalk and brown brush with white highlights on brown-tinted paper, featuring a movable figure for compositional adjustment.

Susannah and theelders. Artist: Annibale Carracci, Italian, 1560-1609

Leiden, Abkoude, Johannes van, Goeree, Jan, Title page for: Willem Goeree, De kerklyke en wereldeldlyke historien, 1729, De kerk- en wereldeldlyke historie, uyt d'Aal-oude aard-beschryving opgehelderd, Allegory of church and world history, verso - stamped, In the clouds the personification of truth. In her hands a globe and a pen. Next to her two putti hold up a medallion with the title of the book. Other putti hold portrait medallions of people from world history. Father Time and Faith sit below them. Winged Time hands a hat (symbol of loyalty) to Faith. In the background a battle., print, engraving, title page, prints, engravings, height 184 mm, width 143 mm, 1670-10-20 - 1731-01-04, print maker, printmaker, 1729 - 1729, paper, papier, engraving (printing process), Work conception, after own design by, Publication (Event), Publication, Noord-Nederlands, publisher

Fall, Anonymous, After Maerten de Vos, 1584 print Eva offers Adam an apple, while with her other hand she reaches the snake in the tree again. The snake has the upper body of a woman. Behind Eva different animals, including a lion and an elephant. Around the show a ornamental frame with on the left the expulsion of Adam and Eva from paradise and on the right the creation of Adam. Up and below a cartouche with a two -line text in Latin. print maker: Low Countriesafter design by: Antwerp paper engraving Eve simultaneously offers some of the fruit to Adam and takes some more from the serpent (or the tree). the man (Adam) comes to life: usually God reaches out his hand or breathes life into his nostrils. expulsion of Adam and Eve from paradise (Genesis 3:22-24)

Carracci, Agostino, Lyon, Farjat, Benoît, Catherine of Alexandria Crowned by the Christ Child, verso - stamped, print, prints, height 554 mm, width 402 mm, 1646, print maker, printmaker, 1657 - 1720, paper, papier, engraving, engraving (printing process), etching, Work conception, Italian, 1557 - 1602-03-22

Design for a Frontispiece Bernard Picart French 1720

Mars and Venus 1588 Hendrick Goltzius Netherlandish In this imposing, erotically charged engraving, Goltzius presents the adulterous liaison between Venus and Mars. They are embracing on a canopied bed, aided and attended by Cupid and three winged putti. Visible through the window at the left is Apollo, the all-seeing sun god, racing in his chariot to warn Venuss husband Vulcan of her infidelity. According to the inscription in the lower center, the print is based on a design, now lost, by Bartholomeus Spranger, court artist to Rudolf II of Prague. Goltzius was first introduced to Sprangers works in 1583, and by 1588, the date of this engraving, had fully absorbed his style, not only in the extravagant poses and exaggerated musculature, but in his very handling of the print medium. Goltzius uses the diamond-shaped head of the burin (the engravers tool) to create lines that swell and taper, curving around and defining the figures. In some places, they seem to take on a life of their

Offer from Isaac, Agostino Veneziano, After Rafaël, 1500 - c. 1536 print Abraham is about to behead with his sword Isaac, who sits next to him. An angel in the air grabs the sword. Italy paper engraving the sacrifice of Isaac (Genesis 22)

Bacchus and Ceres Leaving Venus, Jan Harmensz. Muller, after Bartholomeus Spranger, 1595 - 1599 print Bacchus and Ceres leave Venus. Venus and Amor sit by a fire because they are cold. Illustration of the saying 'Sine Cerere et Baccho Friget Venus' (without Ceres and Bacchus is Venus cold), or, without food and wine, love freezes. Amsterdam paper engraving Without the COVER AND BACCHO CLOVE VENUS '

Noord-Nederland, Wandelaar, Jan, Vechtnymph amidst moderation and painting, verso lower left - stamped, On the bank of a body of water with a swan sits the Vechtnymph with a Latin script on her lap. Behind her stands the personification of painting. On the left sits the personification of moderation at an inkwell with a quill. On her head a compass. Behind them two putti float around a tree with musical instruments., print, book illustration, prints, height 137 mm, width 88 mm, Noord-Nederlands, 1690-04-14 - 1759-03-26, print maker, printmaker, 1741 - 1741, paper, papier, etching, etchings, engraving, engraving (printing process), Work conception, after own design by

The Caution shows Hercules the mirror of virtue and courage. Draughtsman: Mattheus Terwesten. Dating: 1680 - 1757. Measurements: h 281 mm × w 184 mm. Museum: Rijksmuseum, Amsterdam.

Liefde, anonymous, after Jan Saenredam, after Hendrick Goltzius, 1601 - 1651 print The female personification of love, one of the three divine virtues, sits a child and embraces two children standing next to her. Putti flying above her head with a laurel wreath and flowers. after print by: Northern Netherlandspublisher: Amsterdam paper engraving Charity, 'Caritas'; 'Carití' (Ripa) ~ one of the Three Theological Virtues

Judith with the Head of Holofernes. Marco San Martino; Italian, 1615/25-1680/1700. Date: 1635-1700. Dimensions: 192 x 150 mm (image/plate); 212 x 163 mm (sheet). Engraving in black on ivory laid paper. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

. Apollo as the Sun God Helios (SOL). Pendant of Diana as the moon godin Luna.

Father Time flanked by Memorie en Practice, Gerard de Lairesse, 1670 - 1675 print Father Time is with a scythe and an hourglass on an pedestal. To the left of this is the personalized memorandum with a book in her hands. The memorandum has an old and a young face, her foot leans on a small dog. On the right is the personalized practice with a large compass in her hands. paper etching Father Time, man with wings and scythe. Memory; 'Memoria' (Ripa) (+ personification). dog (+ animals used symbolically). Practice; 'Prattica' (Ripa) (+ personification)

Unknown, image reference: S9472400, museum/owner: SFF, Portrait of a man, 1820, 8x6.4 (oval) cm, painting, original: 32103.490, AgfaT5000+/ PS 6.0, data input: JVAINIO, 11.10.01

Batseba takes a bath, Balthasar Bernards, After Bernard Picart, c. 1711 - c. 1720 print Batseba takes a bath in the palace garden of King David. Two maids help her. One reaches her a towel, the other hangs a cloth on the washing line. From his balcony, David looks at the scene. Amsterdam paper etching / engraving Bathsheba attended by servant(s)

Galileo and personifications of Astronomy, Perspective and Mathematics, frontispiece for 'Opere di Galileo Galilei' 1656 Stefano della Bella Italian. Galileo and personifications of Astronomy, Perspective and Mathematics, frontispiece for 'Opere di Galileo Galilei' 377877

Goltzius, Hendrick, Haarlem, Matham, Jacob, Mythological and allegorical representations, The four elements, verso lower left - stamped, The four elements Earth, Water, Air and Fire, personified as two female and two male figures. On the left in the foreground, seen from the back, sits Earth (Terra) with sheaves of wheat in his hand. Also in the foreground sits Water (Aqua) as a female figure with a ship on her head and a stream next to her. In the air between the clouds sits Air (Aer) with a chameleon in her hand. On the right behind a male figure representing Fire (Ignis), sitting on a dragon and on his head a crown of flames. Behind his head the sun., print, prints, height 298 mm, width 209 mm, Noord-Nederlands, 1571-10-15 - 1631-01-20, print maker, printmaker, 1588 - 1588, paper, papier, engraving, engraving (printing process), Work conception, 1558-01 - 1617-01-01, after a design by, Publication (Event), Publication, publisher

Allegory of Good Government, seated at center and being crowned by a putto and a woman at left, Justice standing atop a hydra at right. Artist: After Peter Paul Rubens (Flemish, Siegen 1577-1640 Antwerp); Pieter de Jode II (Flemish, 1606-ca. 1674). Dimensions: Sheet (Trimmed): 10 5/16 × 7 3/8 in. (26.2 × 18.7 cm). Publisher: Gillis Hendricx (Flemish, active 1640-1677). Date: ca. 1640-74. Museum: Metropolitan Museum of Art, New York, USA.

Italy, Perino del Vaga, Caraglio, Giovanni Jacopo, Loves of the Gods, The Loves of the Gods, Venus and the Dead Adonis, verso - stamped, The naked Venus crouches next to the dead body of Adonis. On the right is Amor. In the bottom margin Italian verse in two columns., print, prent, prints, prenten, height 214 mm, width 136 mm, Italian, 1505 - 1565, print maker, printmaker, 1515 - 1565, paper, papier, engraving, engraving (printing process), Work conception, 1501 - 1547-10-19

Paul Troger, Pietà, 1720s Pietà

A man is under a tree, Bernard Picart (workshop or), After Nicolas Vleughels, 1717 print Landscape with a man who wakes up from his sleep along the banks of a river under a tree. In the background the sun appears behind a mountain. In the margin a poetry rule in French. Amsterdam paper etching / engraving waking up - BB - out of doors. sunrise. animals

Diana in Her Chariot (La Lune sur son char) 1633 Claude Mellan French. Diana in Her Chariot (La Lune sur son char) 392365

Bacchus, Music, Amor 1575-1600 Johann Sadeler I Netherlandish. Bacchus, Music, Amor 399880

Jacopo Palma il Giovane, Madonna and Child in Glory with Saints John the Baptist, Stephen, and Lawrence, 1620 1628 Madonna and Child in Glory with Saints John the Baptist, Stephen, and Lawrence

A woman at the bath, another woman washing her right foot and an old woman behind her holding her clothes 1716 Louis Surugue An oval composition.. A woman at the bath, another woman washing her right foot and an old woman behind her holding her clothes. After Peter Paul Rubens (Flemish, Siegen 1577-1640 Antwerp). 1716. Engraving. Prints

Bacchus. Dated: probably 1592. Medium: engraving. Museum: National Gallery of Art, Washington DC. Author: Hendrik Goltzius after Polidoro da Caravaggio.

Scipio Restoring His Captive to Her Lover. Dated: 17th century. Dimensions: overall: 38 x 22.5 cm (14 15/16 x 8 7/8 in.). Medium: black chalk with black wash and white heightening on green-blue paper. Museum: National Gallery of Art, Washington DC. Author: Italian 17th Century.

Design for a Frontispiece. Artist: Bernard Picart (French, Paris 1673-1733 Amsterdam). Dimensions: 5 1/4 x 3 3/8 in. (13.4 x 8.5 cm). Date: 1720. Museum: Metropolitan Museum of Art, New York, USA.

Spranger, Bartholomeus, Amsterdam, Muller, Jan Harmensz., Holy family with angels, verso - stamped, Mary, with the Christ child in her arms, points at a book. Behind them are Joseph, a singing angel and an angel with a stringed instrument., print, prent, prints, engravings, height 313 mm, width 219 mm, Noord-Nederlands, 1571 - 1628, print maker, printmaker, 1588 - 1592, paper, papier, engraving, engraving (printing process), Work conception, Zuid-Nederlands, 1546-03-21 - 1611-08

Antwerp, Cock, Hieronymus, Liège, Lombard, Lambert, Collaert, Hans (I), The seven virtues, Caritas, Love, Liège (city), verso center bottom - stamped, In a niche the female personification of Love (Caritas), one of the three theological virtues. She holds a child in her arms. Around her are two other children. The print is part of a series with the seven virtues as subject., print, prints, height 110 mm, width 70 mm, Southern Netherlands (before 1775), 1540 - 1581, print maker, printmaker, 1557 - 1557, paper, engraving, engraving (printing process), Work conception, Southern Netherlands, 1506 - 1566, after a design by, Publication (Event), Publication, 1518 - 1570-03-10, publisher

Frontispiece 1727-60 Pierre Alexandre Aveline French. Frontispiece 375941

Jan Saenredam, The Veneration of Ceres, Venus and Bacchus 3: Bacchus, 1596, engraving on paper.

The Holy Family with Two Female Saints. Artist: Giovanni Domenico Tiepolo (Italian, Venice 1727-1804 Venice). Dimensions: 13-1/8 x 6-9/16 in. (33.3 x 16.7 cm). Date: 1727-1804. Museum: Metropolitan Museum of Art, New York, USA.

Georg Pencz (German, c. 1500-1550), Dialectic, engraving

Lairesse, Gerard de, Vinum Cautis Innocuum, Dronken Silenus, verso - gestempeld, Silenus, the teacher of Bacchus, lies drunk under a tree. Under his left leg lies a wine jug, next to him sleep two drunken satyr children. Three women look at Silenus mockingly, the woman on the right lays a bunch of grapes on his head. Pendant of a print depicting a Bacchante surrounded by children., print, prent, prints, height 385 mm, width 299 mm, Noord-Nederlands, 1641 - 1711, print maker, printmaker, 1670 - 1675, paper, papier, etching, etchings, after, after a painting by, Publication (Event), Publication, publisher

Drunk Silenus. The Drunk Silenus is supported by Saters. Silenus has a wreath of wingerd leaves on the head.

Woman tramples a snake, Eloy Bonnejonne, After F. Bologna, c. 1640 - 1695 print A woman in an antique wash tramples a snake under her right foot. A naked child is on her side. paper etching snakes. standing figure (canon, proportions). the (nude) human figure; 'Corpo humano' (Ripa) (+ adult female (human being)). child

Minerva and scholars in library; Book-room of learned world; Title page for: S.N., Moondlyke extracts, or booking room of learned Waereld, 1729.Minerva with Owl Surrounded by Putti with Books. Above them FAMA WITH TWO Bazuines on Clouds. In The Background Scholars in a Library.

Louis XIV (king of France), Paris, Merlen, Jacques van, Tetelin, Opstal, Gerard van, France, Elle, Louis Ferdinand I, La Prudence., Two putti with mirror, verso - stamped, print, prints, height 240 mm, width 199 mm, 1612 - 1689-12-12, print maker, printmaker, 1654 - 1654, paper, etching, etchings, Work conception, 1605 - 1668-08-01, after a design by, French, intermediary draughtsman, after a drawing by, Publication (Event), Publication, South Netherlands, 1616-12-15 - 1682-06, publisher, 1638-09-05 - 1715-09-01, granter of privilege

Nuremberg, Solis, Virgil, Prudentia, Voorprudence, verso - handwritten in brown ink, Top right next to the title: FC, print, prints, verso - stamped, 107, height 103 mm, width 74 mm, German, 1514 - 1562-08-01, print maker, printmaker, 1524 - 1562, paper, papier, engraving, engraving (printing process), etching, plate tone

H. Martinus shares his cloak with the beggar, Zacharias Dolendo, after Bartholomeus Spranger, c. 1593 print Saint Martinus shares his cloak with a poor beggar. With his sword he tears the cloak into two pieces. The beggar who sits on the floor before him already holds part of the cloak. Martinus is wearing the clothing of a Roman soldier. Both figures are placed in a niche. paper engraving St. Martin divides his cloak (i.e. the charity of St. Martin): he is usually shown on horseback, cutting his cloak with his sword, or putting part of the cloak round the shoulders of a beggar who kneels beside him

Saint Eustachius in a landscape with a horse and four dogs. While hunting, a deer appears to St. Eustachius with a radiant crucifix between its antlers. In the bottom margin a line of Latin text, Saint Eustachius, print maker: Diana Mantuana, (mentioned on object), Federico Zuccaro, (mentioned on object), Italy, 1580, paper, engraving, h 280 mm × w 200 mm

Louis XIV (king of France), Paris, Merlen, Jacques van, Tetelin, Opstal, Gerard van, France, Elle, Louis Ferdinand I, La Fidelité., Three putti putting a collar on a dog, verso - stamped, print, prints, height 231 mm, width 197 mm, 1612 - 1689-12-12, print maker, printmaker, 1654 - 1654, paper, papier, etching, etchings, Work conception, 1605 - 1668-08-01, after a design by, Frans, intermediary draughtsman, after a drawing by, Publication (Event), Publication, South Netherlands, 1616-12-15 - 1682-06, publisher, 1638-09-05 - 1715-09-01, granter of privilege

The Ascension of Mary Magdalene, Niccolò Francesco Maffei, Italian, 1590 - 1670, Engraving on paper, The Magdalene being borne aloft by putti, in a circle of clouds., Rome, Italy, ca. 1550, Print, Print

Painting by Matthäus Loder depicting Lykaon, executed with gray brush and red lavation.

Death of the Firstborn 1865-81 After Frederic, Lord Leighton British. Death of the Firstborn 642838

Haarlem, Numan, Hendrik, Representation of a story from the Aesop's fables, verso lower left - stamped, Two women are sitting on the hair of a seated figure., print, engraving, folk print, prints, engravings, height 98 mm, width 79 mm, 1736-03-21 - 1788, print maker, printmaker, 1746 - 1788, paper, papier, houtsnede

Christ appears as a gardener with kick for Maria Magdalena, Petrus Johannes Arendzen, after Jacob Matham, after Hendrick Goltzius, 1864 print Netherlands paper engraving Mary Magdalene kneeling before Christ, who is usually represented as a gardener with a hoe and/or a spade; 'Noli me tangere'

Apollo and Cumae Sibille. Cumae Sibille stands for Apollo, her hands filled with sand. Apollo donated her for every sand grain. Apollo is on the right with his winch in the left hand. A third party present is visible between Apollo and Sibille.

A drawing by Laurent de La Hyre symbolizing good governance, created as part of the Medici series, executed with black chalk and brown wash.

Battista Angolo del Moro, The Entombment, 1515 1573 The Entombment

Lot and his daughters. Lot is drunked by his daughters. A daughter is on his lap and has her breast bared. The other daughter is sleeping. In the background the cities of Sodom and Gomorra burn and there is a small figure, the woman changed in a salt pillar.

Smell, Nicolaes Jansz. Clock, after Hendrick Goltzius, 1596 print The female personification of smell. She is half naked and wears some flowers in her left hand. With her right hand she holds a tuil of flowers against her nose. Excupation is accompanied by a dog. The dog smells of a flower bush. The print has a Latin caption. The print is part of a series about the five senses. Haarlem paper engraving smell, smelling (one of the five senses) - AA - female human figure

Two young people sitting on a rock in a wood; between them, two heads or masks, one on a tree branch, the other one on the ground on a small log, Herculaneum, Campania, Italy, engraving by Filippo Morghen from a drawing by Vanni, from Le antichita di Ercolano esposte (The antiquities of Herculaneum exposed), Vv.Aa., volume III, plate 12, 1757-1787, Naples.

Job on the Mesthoop, Ignatius J. van Roy, after Gaspar de Crayer, 1594 - 1729 print With a ruin Job is on a manure trap. He is taunted by his wife, who stands next to him. On the left are three of his friends. Southern Netherlands paper engraving Job on the dunghill (Job 2:7-13)

Venus and Mars, Jan Collaert (II), After Jan van der Straet, 1576 - 1628 print Mars, dressed as a soldier, lies in the arms of a naked Venus. Two lovebirds and cupido, arrow and arches fly in the air. At the top of the print in an oval framework the portrait of the Roman poet Lucretius. At the top of the corners: on the left the personification of abundance, on the right the personification of cruelty. At the bottom of the corners: on the left a party, on the right the war. The print has a Latin caption. print maker: Antwerpafter design by: Florencepublisher: Antwerp paper engraving Mars and Venus as lovers. war. festivities. Envy; 'Invidia' (Ripa) ~ personification of one of the Seven Deadly Sins. Wealth, Opulence; 'Opulenza', 'Richezza' (Ripa). other birds: turtle dove. (story of) Cupid, Amor (Eros)

Pietà. Dated: 1720s. Dimensions: plate: 19.4 x 12.7 cm (7 5/8 x 5 in.) sheet: 19.9 x 12.9 cm (7 13/16 x 5 1/16 in.). Medium: etching on laid paper. Museum: National Gallery of Art, Washington DC. Author: PAUL TROGER.

Venus flies to the Olympus, Gerard de Lairesse, 1675 - 1680 print Venus rises on her victory cart pulled through pigeons to the Olympus and is accompanied by Amor. The print is part of a four -part series of prints with scenes from the mythological story of Venus. Left in the margin numbered: 4. paper etching Venus flees to Olympus (because she has been wounded in the hand by Diomedes)

Simeon, from The Twelve Sons of Jacob”, set of 12 prints after van Mander. Engraver: Jacques de Gheyn II, Dutch, 1565-1629 After: Karel van Mander III, Dutch, 1608-1670

Woman as personification of love (caritas) with two children standing in NIS, Marcantonio Raimondi, After Rafaël, 1510 - 1527 print paper engraving Charity, 'Caritas'; 'Carití' (Ripa) ~ one of the Three Theological Virtues

Diogenes. The philosopher Diogenes is shown here with a plucked chicken, which he displayed as a facetious response to Platos definition of man as a featherless biped. Quite exceptionally, Ugo da Capri did not use a line block for this impressive chiaroscuro woodcut. This masterpiece was printed with four tone blocks, indicating both the light and dark areas and theoutlines.

Apollo in the blacksmith of Vulcanus, Arnold Houbraken, 1688 - 1700 print Vulcanus, with his anvil, is shocked by Apollo, who commits his wife Venus adultery with Mars. Apollo has its winch and has a light wreath of sun rays around the head. Bottom right: O. print of part 1 of a series of prints with emblems, in total consisting of three parts with 23, 17 and 20 prints respectively. print maker: Northern Netherlandspublisher: Dordrecht paper etching Cupids: 'Amores', 'Amoretti', 'Putti'

. Minerva overcomes Vulcanus in a fight. She is aimed at vulcanus that lies on the ground. In the air Cupid with bow and arrow sleeve. On the ground an owl with a broken arrow in its beak. The print has a Latin caption. Possibly an emblematic representation: wisdom overcomes the passionate (fiery) love.

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