Mythological and Allegorical Themes

Etchings representing mythical stories and allegorical figures, showcasing themes of divinity and nature in detailed artistry.

Vatican City, Alexander VII, Rome, Collignon, François, Italy, Carracci, Annibale, Cesio, Carlo, Galeria nel Palazzo Farnese in Roma, Paintings in Palazzo Farnese in Rome, Triumph of Bacchus and Ariadne, A triumphal procession of Bacchus and Ariadne. Bacchus' chariot is drawn by lions. Ariadne's chariot is drawn by goats. In front walks a group of satyrs, bacchantes and the drunken Silenus on a donkey. In the air hovering putti., print, prints, height 373 mm, width 743 mm, Italian, 1622 - 1682, print maker, printmaker, 1656 - 1656, paper, papier, etching, etchings, intermediary draughtsman, after a drawing by, Work conception, 1560-11-03 - 1609-07-15, after a design by, Publication (Event), Publication, French, 1610 - 1687, publisher, uitgever, 1599-02-13 - 1667-05-22, granter of privilege

The deïfication of Aeneas, Daniël van den Dyck, c. 1635 - c. 1670 print A river god washes all the mortal remains of Aeneas body, just before his deïfication. Two water nymphs help him. A putto brings the water. Aeneas armor is on the ground. Under the show a Latin verse and an assignment. Italy paper etching the river-god Numicus washes away Aeneas' mortal parts

Nymph and Sater with Shooting Law, Agostino Carracci, c. 1590 - c. 1595 print A naked nymph is on a bed. A sater is next to the bed and leaves a shooting shelter at the pubic area of the nymph. A putto watches a curtain from behind. There is a spinning cat under the bed. A bird cage with a bird hangs in the window. Italy paper engraving fathoming, sounding (+ variant). satyr(s) (in general). nymphs (in general); 'Ninfe in commune' (Ripa)

Battle of the Sea Gods - left portion. Andrea Mantegna (Italian, 1431-1506). Engraving; sheet: 33 x 43.2 cm (13 x 17 in.); mat size: 47.5 x 43.6 cm (18 11/16 x 17 3/16 in.).

Vatican City, Alexander VII, Rome, Collignon, François, Italy, Carracci, Annibale, Cesio, Carlo, Galeria nel Palazzo Farnese in Roma, Paintings in Palazzo Farnese in Rome, Triumph of Bacchus and Ariadne, A triumphal procession of Bacchus and Ariadne. Bacchus' chariot is drawn by lions. Ariadne's chariot is drawn by goats. In front walks a group of satyrs, bacchantes and the drunken Silenus on a donkey. In the air hovering putti., print, prints, height 373 mm, width 743 mm, Italian, 1622 - 1682, print maker, printmaker, 1656 - 1656, paper, papier, etching, etchings, intermediary draughtsman, after a drawing by, Work conception, 1560-11-03 - 1609-07-15, after a design by, Publication (Event), Publication, French, 1610 - 1687, publisher, uitgever, 1599-02-13 - 1667-05-22, granter of privilege

Flora gives a wreath. Flora gives a wreath to a woman who knew before her in a vineyard. They are surrounded by different figures, including Amor. On the right a man and a boy at a tree. There is a Nymph in the foreground.

The Battle of the Sea Gods (the Left Half). Date/Period: Ca. 1475. Print. Engraving and drypoint Engraving and drypoint. Height: 276 mm (10.86 in); Width: 329 mm (12.95 in). Author: ANDREA MANTEGNA.

Claesz., Allaert, Netherlands, Monogrammist AC (16th century), Fight between Roman soldiers, verso lower left - stamped, Sixteen fighting Roman soldiers., print, prent, prints, height 69 mm, width 218 mm, print maker, printmaker, 1520 - 1562, first quarter 16th century, second quarter 16th century, third quarter 16th century, paper, papier, engraving, engraving (printing process), 1508

The return of the lost son, Philips Galle, After Maarten van Heemskerck, 1596 - 1633 print The lost son returns home and is welcomed by his father with open arms. His brothers help him in clean clothes. The old pork herd clothes are on the right on the floor. print maker: Haarlempublisher: Antwerp paper engraving the parable of the prodigal son (Luke 15:11-32). the prodigal son kneels before his father who takes him in his arms. preparations, e.g. the prodigal son is given new robes; slaughtering of the fatted calf; the elder son objects

Haarlem, Goltzius, Hendrick, Matham, Jacob, Mythological and allegorical representations, The five senses, verso lower left - stamped, The five personified senses Taste (Gustus), Hearing (Auditus), Smell (Odor), Sight (Visus) and Feeling (Tactus). On the left in the foreground, seen from the back, is Hearing, playing a string instrument. Also in the foreground, in the middle, is Taste, next to a basket of fruit and a fruit to her mouth. On the right is Smell, smelling flowers. In the background in the middle is Face, with a hand mirror in her hand. In the background on the left Gevoel is bitten by a snake., print, prints, height 298 mm, width 210 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 print by, Publication (Event), Publication, publisher

Mercury and the graties. Mercury stands behind the three gratients in a landscape. The three graces are recognizable by their attributes: a dice, a rose and a branch myrtle.

Cain murdering Abel (plate 2 from The Story of Cain and Abel). Artist: After Michiel Coxie (I) (Netherlandish, Mechelen ca. 1499-1592 Mechelen); Johann Sadeler I (Netherlandish, Brussels 1550-1600/1601 Venice). Dimensions: Plate: 8 × 11 in. (20.3 × 28 cm)Sheet (including strip of paper pasted to left edge): 10 5/8 × 14 7/16 in. (27 × 36.6 cm). Publisher: Claes Jansz. Visscher (Dutch, Amsterdam 1586-1652 Amsterdam). Date: 1576. Museum: Metropolitan Museum of Art, New York, USA. Author: After Michiel Coxie (I). Johann Sadeler I.

Silenus Reclining with Goats and Satyrs. Giovanni Battista Galestruzzi; Italian, 1615-c.1669. Date: 1635-1669. Dimensions: 144.5 x 200 mm. Etching on paper. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Italy, Romano, Giulio, Bonasone, Pan, Pomona and Amor, verso - stamped, Pomona and Amor sitting under a tree in which hang musical instruments and a bow and quiver of arrows. Pomona holds a cornucopia in her arms., print, prent, prints, height 238 mm, width 193 mm, Italian, 1510 - 1576, print maker, printmaker, 1501 - 1580, paper, papier, etching, etchings, engraving, engraving (printing process), Work conception, 1499 - 1546-01-11

Decapitation of two kings commissioned by a Roman emperor, Gerard de Lairesse, 1670 print From his throne, a Roman emperor instructs a executioner to behead a blindfolded king. The head of the second king is already cut off on the ground. In addition to the emperor, a begging man is stopped by a number of soldiers. This print illustrates the second part of the basic principle of Roman politics included by Vergilius: "Parcere Subiectis, Sed Debellare Superbos" (Vergilius, Aeneis 6.853). According to this principle, the subjects would be saved, but those who persisted were stubbornly destroyed. Pendant of a print about the first part of this rule. Amsterdam paper etching violent death by beheading. emperor

Georg Pecham, The Way of Salvation, c 1595 The Way of Salvation

Allegorical representation with painting that is crowned by eternity, Louis Fabritius Dubourg, 1738 print Painting is crowned by the personification of eternity with a snake that bites in its tail. Painting is sitting next to a young man with a horn of abundance. On the ground for them is a naked man who is chained by Amor. There is a rake next to the man. paper etching 'Pictura', symbolic representations, allegories and emblems ~ painting; 'Pittura' (Ripa). Eternity, 'Aeternitas'; 'Eternití','Eternití o Perpetuití' (Ripa). serpent Ouroboros

Hercules on the crossroads. Hercules raises an uprooted tribe, while a dressed woman gets stabbing a naked woman in the arms of a Sater with a large branch. Right flight a baby with a bird in hand. A large castle on the left. On the back of the background a castle on a water.

Flora gives a wreath, Giulio Bonasone, After Giulio Romano, 1501 - 1580 print Flora gives a wreath to a woman who is kneeling in front of her in a vineyard. They are surrounded by different figures, including Amor. On the right a man and a boy by a tree. In the foreground on the left is a nymph. print maker: Italyafter design by: Mantua paper engraving (story of) Flora. nymphs (in general); 'Ninfe in commune' (Ripa). vineyard

Etching by Giovanni Lanfranco depicting the season of Fall, showing trees, leaves, and seasonal changes in landscape.

Triomf van Bacchus en Ariadne.A triumphop trip with Bacchus and Ariadne on triumph trolleys. The Bacchus car is being continued by lions. The car from Ariadne is being continued by goats. A group of Saters, Bacchants and the Drunk Silenus runs on a donkey. Putti float in the air.

Fries met mannen, vrouwen en kinderen.Frisian with several men, women and children. Left a woman wears a child over her shoulder, while she drives a car pulled by winged snakes.

A chalk and feather drawing by Francesco de Mura depicting the Sacrifice of Iphigenia with gray-lavated tones, circa 1727.

Mars and Venus Being Served at Table by Cupid 1540-56 Léon Davent French. Mars and Venus Being Served at Table by Cupid 337466

Hendrick Goltzius 1595 drawing shows an allegorical figure with symbolic attributes, rendered in brown ink, lavated, with white heighted details.

Bathing Nimfen, c. 1550 - c. 1570 print A group of bathing nymphs in a round bath in a palace. Central brings a caricatural operator a tray with bottles and fruits. Left front are a jug and bowl with water. Front right are a comb and sponge. whole: Paper engraving taking a bath - AA - in the open air. nymphs (in general); 'Ninfe in commune' (Ripa)

Jupiter and Antiope. René Boyvin (French, c. 1525-after 1580); after Luca Penni (Italian, 1500/04-1557). Date: 1550-1559. Dimensions: 162 × 286 mm (image); 166 × 288 mm (sheet); 252 × 367 mm (secondary support). Engraving on ivory laid paper, edge-mounted to ivory laid paper. Origin: France. Museum: The Chicago Art Institute, USA.

Fight between satyrs moving on hippocampuses and old woman as a personification of envy standing on back of dragon; Fight of sea uts. Fight between satyrs driving on hippocampuses and old woman as a personification of envy standing on back of dragon. The woman holds a sign with the text Invid (envy). Neptune is on a base with a dolphin and trident.

Ink drawing by Gaetano Biccari depicting the entombment scene, executed in brown and black ink in 1732.

River gods consoling Peneus for the Loss of his Daughter, Daphne from 'The Story of Apollo and Daphne' 1530-60 Engraved by Master of the Die Italian. River gods consoling Peneus for the Loss of his Daughter, Daphne from 'The Story of Apollo and Daphne' 364037

Siena, Beccafumi, Domenico, Vanni, Francesco, Italy, Andreani, Andrea, Moses Breaking the Tablets of the Law (Part Four), verso - stamped, Moses holds a stone tablet above his head, ready to throw it down. On the right the golden calf venerated by the people., print, prent, prints, prenten, height 608 mm, width 392 mm, Italian, 1559 - 1629, print maker, prentmaker, 1590 - 1590, paper, papier, ink, inkt, houtcut, met de handkleur, brush, schilder, pen, 1563 - 1610-10-26, intermediary draughtsman, after a drawing by, Work conception, 1486 - 1551

Giovanni Benedetto Castiglione, Temporalitas Aeternitas, 1655 Temporalitas Aeternitas

Flora in the centre passing a wreath to another woman, surrounded by other figures mid-16th century Giulio Bonasone Italian. Flora in the centre passing a wreath to another woman, surrounded by other figures 392935

Bor�e Removing Orythia, according to Rubens (Dutuit 6 p.138) Pierre-Paul Rubens. Bor�e Removing Orythia, according to Rubens (Dutuit 6 p.138). Floor, 17th century. Museum of Fine Arts of the city of Paris, small palace.

The prodigal son squanders his inheritance in a brothel. Seven women care for him, make music for him, and bring him food and drink. On the right the prodigal son arrives through the window, on the left he is shown the door after the money has been used up, The prodigal son squanders his inheritance 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

Martyrdom of St. Andrew n.d. Ferdinand Pierre Joseph Ignace Delamonce French. Martyrdom of St. Andrew. Ferdinand Pierre Joseph Ignace Delamonce (French, Munich 1678-1753 Lyon). n.d.. Pen and brown ink, brown wash, over black chalk. Oval framing lines in pen and black ink.. Drawings

Speculum Romanae Magnificentiae: Apollo Tending the Flocks of Admetus 16th century Marco Dente Italian This print comes from the museums copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title ‘Speculum Romanae Magnificentiae first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of

Laestrygons crushing Odysseus' fleet with heavy stones, anonymous, 1500 - 1640, draughtsman: anonymous, 1500 - 1640, paper, pen, brush, h 210 mm × w 312 mm

Etching by Monogrammist AC, first half of the 16th century, showing a triton accompanied by two nereids in water, with detailed tails and gestures.

Massacre of the Innocents, Hendrik Goltzius, Netherlandish, 1558 - 1617, Claes Jansz. Visscher, Dutch, 1550 - 1612, engraving on paper, Netherlands, ca. 1585-86, Print, Print

Italy, Perino del Vaga, Caraglio, Giovanni Jacopo, Loves of the Gods, The Loves of the Gods, Jupiter Changes Io into a Cow, verso - stamped, Juno catches Jupiter and Io. Jupiter has changed Io into a cow. Top right a putto. In the bottom margin Italian verse in two columns., print, prent, prints, prenten, height 216 mm, width 135 mm, Italian, 1505 - 1565, print maker, printmaker, 1515 - 1565, paper, papier, engraving, engraving (printing process), Work conception, 1501 - 1547-10-19

Noah's Sacrifice; Noah at right with his hands clapsed in prayer before a fire upon an altar, two men sacrificing a ram on the ground and another bringing a second ram, two men leading two cows and a camel behind the fire ca. 1515-27 Marco Dente Italian. Noah's Sacrifice; Noah at right with his hands clapsed in prayer before a fire upon an altar, two men sacrificing a ram on the ground and another bringing a second ram, two men leading two cows and a camel behind the fire 341434

Lion with cub and two putti, monogram miss FG, After Rafaël, 1537 print Numbered in the middle: 12. paper engraving beasts of prey, predatory animals: lion. cupids: 'amores', 'amoretti', 'putti'

Brown ink and deck white drawing by Francesco di Maria depicting an allegorical scene with an old man, a putto holding a ceremonial headgear, an angel pointing, and a devil falling into an abyss.

Lot and his daughters. Lot and his two daughters are seated and almost completely undressed. One daughter is sitting on lap by Lot, she loves her left hand up a grumbler, filled with wine by the other daughter. A wine jug and a sword on the ground. On background burning city sodom, fleeing fate with two daughters and wife of fate looking around.

Lucas Cranach the Elder, The Ecstasy of Saint Mary Magdalene, 1506 The Ecstasy of Saint Mary Magdalene

Monogrammist HCBs copper engraving depicts Mars and Venus, showing mythological figures in an intimate composition with symbolic attributes of love and war.

Allegory on perception. A glasses wearing artist paints a naked woman in the outdoors. The model is on her knees on the ground and looks at herself in a mirror that is stopped by a putto. Behind the donkey a doctor looking at a urinal and a two men with astrolabium and passer on a globe. On the right in the foreground are different measuring instruments. A corner and the right of the right a eagle. Under the show the Latin translation of: I know from experience that this makes the viewer both angry and pleasure.

Andrea Mantegna, Bacchanal with Silenus, c 1475 1480 Bacchanal with Silenus

Master MZ (German, active c. 1500), Four Soldiers, c. 1500, engraving

Hercules sleept Cerberus de hel uit, Cornelis Cort, after Frans Floris (I), in or after 1563 - before 1595 print Hercules takes care of Cerberus, the three-person dog that monitors the entrance of the Hades. He pulls the chain around Cerberus heads and threatens the dog with his club. Antwerp paper engraving (12) Cerberus captured and carried away by Hercules

Andrea Andreani after Jacopo Ligozzi, Allegory of Virtue, 1585 Allegory of Virtue

Amors in Rust Na de Jacht, François Philippe Charpentier, 1772 - 1817 print France paper etching Cupids: 'Amores', 'Amoretti', 'Putti'

Orreading removing a thorn from the foot of a saat, Jan Harmensz. Muller, after Bartholomeus Spranger, 1630 - 1656 print An OREADE, with glasses on the nose, removes a thorn from the foot of a saat. The Sater is supported by a female and a young Oreade. At the bottom of the margin a two -line text in Latin. Amsterdam paper engraving 'Spinario', child pulling a thorn out of its foot (+ variant). Oreads, nymphs of the hills

Premier Engraver (Italian, active 1495-1497) after Andrea Mantegna (Italian, ca. 1431 - 1506). Four Dancing Muses, ca. 1497. Engraving on laid paper. Sheet: 244 mm x 339 mm (9.61 in. x 13.35 in.).

Apollo and the Muzen, 1660 print Apollo is approaching from the air, nine muses (Clio, Euterpe, Thalia, Melpomene, Terpsichore, Erato, Urania, Calliope and Polyhymnia) on Mount Parnassus. His horse Pegasus flies away in the background. This print is part of an album. paper etching Apollo and the Muses, Apollo Musagetes

Design for the central section of The Mirror of Virtue. Cornelis Ketel (Dutch, 1548 - 1616)

TRIOMF VAN GALATEA MET TRITONS IN NEREïDEN IN PUTTI, MARCANTONIO RAIMONDI, AFTER RAFAël, 1515 - 1516 print Galatea stands on a shell and is pulled by dolphins. She is surrounded by tritons and nereids. Three putti focus their arrows on Galatea. paper engraving triumph of Galatea

Copper engraving by Agostino Veneziano depicting Venus near a volcano surrounded by putti, showing mythological figures and gestures, 1530.

Allegory on De Tijd, Joseph Antoine Cochet, After Peter Paul Rubens, c. 1645 - c. 1678 print Father Time Lauwert Lauwert Lauert the Hardworking Man and hurts the sloth with a rod. The hard -working man leans on a hoe and next to him is a stack of books. The sloth leans on a wine barrel. Behind the working man, an angel blows on a praise. Behind the sloth, an older woman prays for his soul. paper engraving Father Time, man with wings and scythe. sluggard. Time rewarding Industry and punishing Sloth

. Venus throws itself to the Dead Body of Adonis. Adonis holds a rocket and is a hunting horn next to him. In the background three hunting dogs and the wagon of Venus.

The Last Judgment, Page C, Giorgio Ghisi, After Michelangelo, 1530 - 1582 print A detail from the fresco 'The Last Judgment' by Michelangelo in the Sixtine Chapel. Marked bottom left: C. paper engraving Last Judgement

The judgment of Paris. Engraving by M.A. Raimondi after Raphael.

Milton's Comus 1842-48 Sir Joseph Noël Paton British, Scottish Milton centered his masque "Comus" on a mythic figure that he called the son of Bacchus, and used to embody frenzied revelry. Here, he leads riotous followers through the woods at night-some sporting animal heads. Paton came to London from Scotland to attend the Royal Academy Schools in 1843 and soon was commissioned to illustrate two poems in Samuel Carter Hall's "Book of British Ballads" (1842-43). This drawing, with its free pen work and emphasis upon the nude, likely was produced a year or two later. By 1848, Paton adopted a tighter style influenced by the Pre-Raphaelites (as a friend of John Everett Millais since student days, Paton was invited to join brotherhood, declined formal membership, was sympathetic to their tenets).. Milton's Comus. Sir Joseph Noël Paton (British, Dunfermline, Scotland 1821-1901 Edinburgh). 1842-48. Pen and ink, brush and brown wash, touches of white gouache (bodycolor), on brown paper. Drawi

Speculum Romanae Magnificentiae: Dance of Fauns and Bacchants. Artist: Anonymous; After Agostino Veneziano (Agostino dei Musi) (Italian, Venice ca. 1490-after 1536 Rome). Dimensions: plate: 7 5/16 x 10 1/2 in. (18.5 x 26.7 cm)sheet: 9 13/16 x 13 3/16 in. (25 x 33.5 cm). Series/Portfolio: Speculum Romanae Magnificentiae. Date: early 16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this p

Speculum Romanae Magnificentiae: Dance of Fauns and Bacchants early 16th century Anonymous This print comes from the museums copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title ‘Speculum Romanae Magnificentiae first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Ins

Two Figures, a Faun, and a Satyr approach a Recliniing Woman published ca. 1599-1622 Anonymous, Italian, 16th century Italian. Two Figures, a Faun, and a Satyr approach a Recliniing Woman 371839

Flora in the centre passing a wreath to another woman, surrounded by other figures. Artist: Giulio Bonasone (Italian, active Rome and Bologna, 1531-after 1576). Dimensions: sheet: 13 1/8 x 17 in. (33.3 x 43.2 cm). Date: mid-16th century. Museum: Metropolitan Museum of Art, New York, USA.

Triumph of Christ (first part), Andrea Andreani, After Titian, c. 1568 - 1629 print Part of the triumph of Christ with Noah and the Naked Adam and Eva in front. In the middle: A. print maker: Romeafter design by: Italy paper angels. Adam and Eve (not in biblical context). male persons from the Old Testament (with NAME) (not in biblical context)

Allegory of autumn (above part), Pietro Testa, 1621 - 1650 print Allegorical representation of the autumn season. Views of different constellations. Italy paper etching autumn, fall, 'Autumnus'; 'Autunno' (Ripa). stars and constellations

Vatican City, Alexander VII, Rome, Collignon, François, Italy, Carracci, Annibale, Cesio, Carlo, Galeria nel Palazzo Farnese in Roma, Paintings in Palazzo Farnese in Rome, Salmacis and Hermaphroditus, Cupid and Pan, On the left a medallion with a representation of Hermaphroditus and Salmacis intimately entwined and kissing. Around the medallion sculptures of nude figures, putti and a mask. On the right a medallion with a representation of Cupid trying to trample Pan. Around the medallion sculptures of nude figures, putti and a mask., print, prints, height 261 mm, width 535 mm, Italian, 1622 - 1682, print maker, printmaker, 1656 - 1656, paper, papier, etching, etchings, intermediary draughtsman, after a drawing by, Work conception, 1560-11-03 - 1609-07-15, after a design by, Publication (Event), Publication, French, 1610 - 1687, publisher, uitgever, 1599-02-13 - 1667-05-22, gever van privilege

An Old Man Indulging in Five Senses. Adriaen Collaert (Flanders, Antwerp, circa 1560-1618). Flanders, circa 1600. Prints; engravings. Engraving

Iron wheeling print by Albrecht Dürer around 1515 depicting the Saturnal Festival, showing human figures and ceremonial activities in detailed composition.

Flora gives a wreath, Giulio Bonasone, After Giulio Romano, 1501 - 1580 print Flora gives a wreath to a woman who is kneeling in front of her in a vineyard. They are surrounded by different figures, including Amor. On the right a man and a boy by a tree. In the foreground on the left is a nymph. print maker: Italyafter design by: Mantua paper engraving (story of) Flora. nymphs (in general); 'Ninfe in commune' (Ripa). vineyard

Odysseus and Telemachus en route to Laertes; Odysseus works. Odysseus, his son Telemachus, Eumaeus and Philoetius abandoned the palace and go on the way to the father of Odysseus: lairts. Minerva hides them in darkness in broad daylight so that they ride away unseen.

Frisian with the punishment of Niobe (plate 7), Jan Saenredam, After Polidoro da Caravaggio, After Hendrick Goltzius, 1596 - 1652 print The Banen sacrifice Niobe. The print has a Latin caption. Right plate of a print with a Frisian from eight plates paper engraving Niobe tries to dissuade the Theban women from worshipping Latona, boasting of her own superiority

The heks, alborn durious, 1498 - 1502 print A witch on a goat surrounded by four putti. Nuremberg paper engraving witch, sorceress. cupids: 'amores', 'amoretti', 'putti'

Paris in Oenone, Jacob Lois, 1644 print Paris makes the name of Oenone in the bark of a tree. Saters and a naked female figure watch in the background. paper etching Paris and Oenone carving their names in a tree

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.

Silenus at the wine barrel. Silenus, Bacchus teacher, lying next to a wine barrel. A Sater places a wreath of vines on his head, another Sater donates his cup full of wine. Two drunken children lie on his feet, above a cup of a balicious donkey.

The Garden of Pomona 1540-56 Léon Davent French. The Garden of Pomona 336959

A 1517 copper engraving by Domenico Campagnola depicting twelve children dancing, showing dynamic figures and detailed compositional arrangement.

Emperor Trajanus between Roma and Victoria ..

A naked man pursing a naiad and a cupid into the water ca. 1515-27 Marco Dente Italian Verso not visible as print is laid to another sheet of paper.. A naked man pursing a naiad and a cupid into the water 342482

The Flagellation Made 1509 Italy. Engraving on paper . Giovanni Antonio da Brescia

Three men and an Amazon; Reliefs in the Loggia of Rafael. Three men with knives and swords and an Amazon with a bat.

Polidoro da Caravaggio, Italy, Bella, Stefano della, Perillus has Phalaris put in the cow, verso - stamped, Perillus has Valerius locked up in a hollow copper ox. A group of men look on., print, prints, height 149 mm, width 196 mm, Italian, 1610-05-18 - 1664-07-27, print maker, printmaker, 1620 - 1664, paper, papier, etching, Work conception, 1490 - 1543

Woodcut by Albrecht Dürer from circa 1509 depicting Christ in the pre-pale, part of the Small Passion series, showing detailed figures and expressive composition.

Statue of Niobe and her Worshippers, with Apollo and Diana and other Figures, after Polidoro da Caravaggio 1543-47 Anonymous, School of Fontainebleau Forms a complete composition with 51.501.622a.. Statue of Niobe and her Worshippers, with Apollo and Diana and other Figures, after Polidoro da Caravaggio 698817

The Rape of Europa. Nicolas Lesueur (France, Paris, 1691-1764)Paolo Farinati (Italy, Verona, 1524-1606). France, circa 1729-1740. Prints; woodcuts. Chiaroscuro woodcut from four blocks

Amsterdam, Muller, Harmen Jansz, Cornelisz. van Haarlem, Cornelis, Jan Harmensz., Cain kills Abel, verso - stamped, Cain kills his brother Abel with a club. In the background Cain walks away. God is depicted by a halo from the clouds. At the bottom in the margin a four-line verse in Latin., print, prent, prints, prenten, height 355 mm, width 418 mm, Noord-Nederlands, 1571 - 1628, print maker, printmaker, 1587 - 1591, paper, papier, engraving, engraving (printing process), Work conception, 1562 - 1638-11-11, after a design by, Publication (Event), Publication, Nederlands, 1540 - 1617-10-07, publisher

Venus punishes amor; Lascivie. Amor is blindfolded and is lifted by a putto. Venus is ready to hit Amor with a branch forest. On the floor on the left is a crying putto.

Gabriel Salmon, Hercules and Antaeus Hercules and Antaeus

Bacchanal 1615-42 Pierre Brebiette French. Bacchanal 333903

Sater with a grapesros, a tiger and leopard, Lucas Vorsterman (II) (attributed to), after Peter Paul Rubens, 1651 - 1652 print Antwerp paper etching / engraving beasts of prey, predatory animals: tiger. beasts of prey, predatory animals: leopard. satyr(s) (in general). bunch of grapes

Acis and Galatea. A virtually naked young woman (Galatea), located in a cave, is guessed by a naked young man (ACIS). In the background a pan flute player on a rock (the Polyphemus cycle) in a mountainous coastal landscape. Under the show a four-line Latin text.

Tast, anonymous, after Francis Cleyn, c. 1655 print A woman is bitten by a bird. Leaf from series consisting of a title page and 5 magazines with personifications of the senses, third edition. print maker: England (possibly)after design by: England (possibly)publisher: London paper etching

Kindermoord Te Bethlehem, Marco Dente (Possibly), After Marcantonio Raimondi, After Rafaël, 1510 - 1527 print paper engraving the massacre of the innocents

Blindmaking of Polyphemus, Theodoor van Thulden, After Francesco Primaticcio, 1632 - 1633 print Odysseus and his warriors protrude the eye of the giant Polyphemus. Paris paper etching / engraving Polyphemus is blinded with a pointed stake

Pencz, George, work, Thetis asks Chiron to be Achilles' teacher, 1543, copper engraving, graphics, image width 18.8 cm, image height 13, 6 cm

Italy, Carracci, Agostino, Lascivie, Lot and his daughters, verso - stamped, Lot sitting on a rock. His two daughters get him drunk and seduce him., print, prent, prints, height 152 mm, width 111 mm, Italian, 1557 - 1602-03-22, print maker, printmaker, 1590 - 1595, paper, papier, engraving, engraving (printing process)

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