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

Diana Surprised by Actaeon 1586-1629 Aegidius Sadeler II Netherlandish. Diana Surprised by Actaeon 388944

unknown, Schut, Cornelis (I), Madonna and Child with John the Baptist, verso lower left - stamped, Mary supports the Christ Child who sits on a pedestal together with the young John the Baptist. John holds the lamb next to him by the head and the Christ Child holds up a bunch of grapes. In his other hand he holds a cross., print, prent, prints, prenten, height 115 mm, width 198 mm, Zuid-Nederlands, 1597-05-13 - 1655-04-29, print maker, printmaker, 1618 - 1655, paper, papier, etching, etsen, Work conception, after a design by, verlener van privilege

Bacchus watches how a man and woman and two children wear baskets with grapes for the preparation of wine; WINE PRICE.

The Carcass.The witch, riding on a gigantic carcass, is a superb example of a copy-paste’ approach in printmaking. The naked sorceress was copied from an engraving by the famous Albrecht Dürer, who, in turn, had borrowed it from the figure of Envy in the print by Andrea Mantegna (see elsewhere in this gallery). As a depiction of a hideous fantasy, this certainly rivals Mantegna’s print.

The Massacre of the Innocents Made 1520-1569 Germany. Engraving in black on ivory laid paper . Jacob Binck

Fashed, John Sadlener (i), After Dirt barendsz., 1582 print The sleeping NOx, the personification of the night. A cloud of darkness escapes from his mouth. Next to him an owl, a bat and a rat. On the left a couple. In the background, a masked man brings a veiled woman to a temple. In the margin a Latin caption with an explanation of the night. The print is part of a four -part series about the parts of the day and the human activities that are committed during that part of the day. Cologne paper engraving personification of the night, 'Nox'; 'Notte', 'Carro della notte', 'Serenití della notte' (Ripa). owls. night. night ~ landscape (sometimes titled 'Nox'). flying mammals: bat. couple of lovers

Drawing by Giuseppe Nicola Nasini depicting a casket, executed with chalk, ink, feather, brown wash, and white highlights on brownish paper.

Putti a monkey ridting; Pope tapers; Tapezzer the dad. A large guirland is a monkey with a piece of wrapped putto. On the right a putto with a fruit in hand and on the left a putto with a rattle. On the ground a snail, a turtle and a butterfly.

Diana discovers the pregnancy of Callisto, Anonymous, After Hendrick Goltzius, 1573 - 1667 print The goddess Diana with her nymphs in the forest. She accusingly points to Callisto, whose clothing is pulled aside by the nymphs to reveal her pregnancy. Under the show a two -line text in Latin. paper engraving Diana with her nymphs discovers the pregnancy of Callisto. pregnancy

Triumph of Bacchus who is seated on a carriage at left 1531-76 Giulio Bonasone Italian. Triumph of Bacchus who is seated on a carriage at left 392641

Bacchanal ca. 1635-36 Nicolas Poussin French Although he spent most of his career in Rome, Poussin was considered the greatest living French artist, and his work was avidly sought by influential French collectors. This sparkling study can be related to the Triumph of Pan (National Gallery, London) executed for Cardinal Richelieu, the French minister of state, along with a pendant depicting the Triumph of Bacchus (Nelson-Atkins Museum of Art, Kansas City). While the finished painting depicts a scene of sensual abandon, the drawn studies reveal Poussin's cerebral process of composition, in which individual figures are treated as formal elements of a tightly knit composition based on classical ideals of beauty. Here, broad, abstracted areas of wash are used to explore the volume and spatial relations of the complex figural group that can be seen, in reversed direction, at the left side of the painting. At least four other studies for the painting survivetwo at Windsor Castle, England, an

Warrior Pulling a Rider from His Horse, from "Ex Antiquis Camorum et Gemmae Delineata" published ca. 1599-1622 Anonymous, Italian, 16th century Italian. Warrior Pulling a Rider from His Horse, from "Ex Antiquis Camorum et Gemmae Delineata" 357050

Claesz., Allaert, Netherlands, Monogrammist AC (16th century), Fight between five Roman soldiers, verso lower left - stamped, Five soldiers in combat. Severed head protrudes from window., print, prent, prints, height 205 mm, width 162 mm, print maker, prentmaker, 1520 - 1562, first quarter 16th century, second quarter 16th century, third quarter 16th century, paper, papier, engraving, engraving (printing process), 1508

A Faun serves wine in the scale of a seated man. Behind the seated man is a woman with a blast.

Italy, Carracci, Ludovico, Gatti, Oliviero, Duke of Mantua with the six principal pagan gods, verso inset sheet - stamped, The Duke of Mantua stands, in a suit of armour, beside a tree. He is flanked on either side by three pagan gods (Minerva, Apollo, Neptune, Jupiter, Venus and Hercules). In the foreground a coat of arms, two river gods and a seated female figure on a pile of weapons., print, prent, prints, prenten, height 355 mm, width 387 mm, Italian, 1579 - 1626, print maker, printmaker, 1589 - 1626, paper, papier, engraving, engraving (printing process), Work conception, 1555 - 1619-11-13

Sleeping Diana. Diana is sleeping in a landscape at a fountain. There are two hunting dogs to her feet.

The bridegroom (Christ) embraces his kneeling bride (Sponsa) before a rose arch in a garden. Female personifications of various virtues, including Faith (Fides), Hope (Spes) and Love (Charitas) look on. In the margin a four-line caption, in two columns, in Latin. Bride and groom embrace each other, print maker: Johannes Wierix, (possibly), intermediary draughtsman: Gerard van Groeningen, publisher: Philips Galle, Antwerp, 1574, paper, engraving, letterpress printing, h 91 mm × w 140 mm

Achor is tied to a tree. Achor, the leader of the ammonites, is tied to the command of Holofernes to a tree.

The Incredulity of Thomas. 1500 - 1550. Pencz, Georg, 1500-1550. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Vision of the rich man in hell, Aegidius Sadeler, 1595

Anonymous (Copy after Polidoro da Caravaggio) / 'Niobe Receiving Offerings'. XVI century. Wash, Pencil, Grey-brown ink on paper. Museum: Museo del Prado, Madrid, España.

Master of the Die (Italian, born ca. 1512, active 1532/1533), possibly after Raphael (Italian, 1483-1520) or Giulio Romano (Italian, probably 1499-1546). Sacrifice to Priapus, 16th century. Engraving. First of three states, rare state before alterations on the statue of Priapus.

A man with two trumpets in the centre flanked by other figures including an old and a young man at left. Artist: Anonymous; After Marcantonio Raimondi (Italian, Argini () ca. 1480-before 1534 Bologna ()). Dimensions: Sheet: 3 1/4 × 4 11/16 in. (8.3 × 11.9 cm). Date: ca. 1520-50. Museum: Metropolitan Museum of Art, New York, USA.

A copper engraving by Marcantonio Raimondi from circa 1514-1520 showing Galatheas triumph, emphasizing early 16th-century Italian engraving techniques and classical themes.

Cupid Overcoming Pan. Orazio Samacchini; Italian, 1532-1577. Date: 1552-1578. Dimensions: 158 x 161 mm. Pen and brown ink, with brush and brown wash, squared in black chalk, on ivory laid paper, laid down on ivory laid card. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Triumph of Christ (second part), Andrea Andreani, After Titian, c. 1510 - 1629 print Part of the triumph of Christ with, among others, Abraham with the young Isaac and David with a harp. In the middle: B. print maker: Romeafter design by: Italy paper story of Isaac. David as musician, usually playing the harp. male persons from the Old Testament (not in biblical context)

Cristofano Robetta, Allegory of Carnal Love Allegory of Carnal Love

Allegory Met Mythological Figures, Giuseppe Diamantini, c. 1650 - c. 1705 print Mythological scene. A sitting woman (Juno) Gets a laurel wreath from a standing man (Apollo). Hercules is watching on the left. With several other figures. paper etching assemblies of the gods (outdoors). (story of) Hercules (Heracles). crowning with laurel. triumph of Juno

Mauritius Lowe, 1746-1793, British, The Artist Assaulted by Time, Ignorance and Envy, between 1772 and 1790. Watercolor, graphite, and pen and black ink on medium, slightly textured, cream laid paper.

Frisian with the punishment of Niobe (plate 1). The fourteen children of Niobe are killed by Apollo and Diana with arrows. Left in the corner is Niobe who tries to protect her children. The print has a Latin caption. Extremely left plate from a print with a frieze from eight plates.

Putto, sat on a sea horse; Putti on sea statement. With both hands, the Putto clings to the mane of the horse. Obachi copy to a print of Giovanni Andrea Maglioli.

Laöcoon. Nicolas Beatrizet; French, 1515-after 1565. Date: 1535-1565. Dimensions: 412 × 294 mm. Engraving in black ink on pieced, cream laid paper with a watermark. Origin: France. Museum: The Chicago Art Institute, Chicago, USA.

Touch (Tactus), from Quinque Sensuum ca. 1655 Franz Cleyn German Horizontal panel with the personification of Touch (Tactus) shown at center as a female figure with a bird perched on her left hand. She appears under an arch formed from thorned banches and rests her right foot on a turtle. Scrolling tendrils grow from the bottom left and right corner of the arch and are inhabited by pairs of putti. The series, consisting of a title and five plates with the senses personified by female figures, is titled 'Quinque sensuum descriptio, in eo picturae genere quod (Grottesche) vocant Itali' (Description of the Five Senses in that kind of painting that the Italians call grotesque). This set belongs to the 3rd edition, published in London by Robert Walton after 1646 (ca. 1655). An inscription on the title plate (45.101.1) credits Walton as the publisher ('SOULD BY RO: WALTON), but there are visible traces of the name and address of the publisher of previous editions.. Touch (Tactus), from Quinq

Galle, Philips, Antwerp, Theodoor, Heemskerck, Maarten van, The four evangelists, Sanctus Matheus Evangelista, Matthew the evangelist writes his gospel, verso - stamped, The evangelist Matthew writes his gospel. The angel assists him by holding the inkwell. On the left a landscape. This print is part of an album., print, album leaf, prints, height 164 mm, width 224 mm, Southern Netherlands, 1537 - 1612-03-29, print maker, printmaker, 1562 - 1562, third quarter 16th century, paper, engraving, engraving (printing process), Northern Netherlands, 1498 - 1574, intermediary draughtsman, after a drawing by, Publication (Event), Publication, 1571 - 1633, publisher

De Zloedvloed, Jan Edelinck, After Alessandro Turbi, 1681 print Naked men, women and children try to escape the flowing water by climbing in a tree or on higher parts. Some lie lifeless in the water. The Ark of Noah sails in the background. Under the performance four lines in French and four in Latin. print maker: Netherlandsafter painting by: Italy paper engraving the Flood and destruction of mankind ~ story of Noah (Genesis 7:10 - 8:17)

Vlijt overrests laziness, Arnold Houbraken, 1710 - 1719 print Two putti, a putto of which is lying on the floor while the other is overresting him. A rooster behind the standing putto. Imagination of Vlijt's victory over the laziness. Print from a series of 41 symptoms. Amsterdam paper etching / pen Distinction between Good and Bad; 'Distintione del bene & del male' (Ripa)

Triumph of Bacchus. Bacchant procession to the right. Bacchus sitting on a car that is being carried out by four lions. There are two saters behind Bacchus and floats a putto. On the right two bacchants. In the background Silenus on a donkey.

Last judgment (bottom plate), Cornelis Visscher (II), After Peter Paul Rubens, 1638 - 1658 print Women and men are attacked by all kinds of devils and animals and taken to hell. paper engraving Last Judgement

A drawing by Laurent de La Hyre depicting the destiny and trials of Maria de' Medici, part of the historical series.

Copper engraving by an anonymous artist titled 'The Martyrdom of St. Sebastian,' created in the 18th century, depicting Saint Sebastian tied and pierced by arrows.

The Massacre of the Innocents. Raphael, 1483-1520. 1501 - 1534. Raimondi, Marcantonio, approximately 1480-approximately 1534. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

The element of fire, attributed to Jacob de Gheyn (II), 1588 - 1592

Italy, Salviati, Francesco, Southern Netherlands, Massijs, Cornelis, Vico, Enea, Emblematic figures, Sapere, Wisdom, verso - stamped, A naked man sitting on a figure whose hair he is grasping. On the left a boat with an eye and an ear on the stern. In the background several figures and on the right a female herm. At the top a line of Latin text., print, prent, prints, prenten, height 79 mm, width 76 mm, Italian, 1523 - 1567, print maker, printmaker, 1533 - 1567, paper, papier, engraving, engraving (printing process), 1511 - 1557, Work conception, 1510 - 1563-11-11

Descent into Limbo. possibly Style of Domenico Maria Canuti; Italian, 1620-1684. Date: 1640-1684. Dimensions: 316 × 253 mm. Pen and brown ink with brush and brown wash, over red chalk, on ivory laid paper, laid down on ivory laid paper. Origin: Italy. Museum: The Chicago Art Institute, FLORENCIA, USA.

Plate 4: The Sacrifice of Abraham, from Genesis Chapter 22, after a lost fresco in the basamento of Bay 4 of the Vatican Loggia 1650-77 Pietro Santi Bartoli Italian This plate is bound with three series after Raphael's designs for the Vatican Stanze.. Plate 4: The Sacrifice of Abraham, from Genesis Chapter 22, after a lost fresco in the basamento of Bay 4 of the Vatican Loggia. Series of 44 plates depicting the stucco medallions by Raphael's workshop designed for the Vatican Loggie. Pietro Santi Bartoli (Italian, Perugia 1615-1700 Rome). 1650-77. Etching. Giovanni Giacomo De Rossi (Italian, Rome 1627-1691 Rome). Prints

Lazzaro Tavarone / 'Flagellation of Christ'. Early Finales del siglo XVI - XVII century. Wash, Pencil, Pencil ground, Red chalk, Grey-brown ink on yellow paper. Museum: Museo del Prado, Madrid, España.

Master AD, Les divers pourtraicts et figures III, c 1600 Les divers pourtraicts et figures III

Barendsz., Dirck, Keulen, Sadeler, Johann (I), The four parts of the day, Nox, Night, verso lower left - stamped, The sleeping Nox, the personification of the night. A cloud of darkness escapes from his mouth. Next to him an owl, a bat and a rat. On the left a couple in love. In the background a masked man brings a veiled woman to a temple. In the margin a Latin caption with an explanation about the night. The print is part of a four-part series on the parts of the day and the human activities that take place during that part of the day., print, prints, height 182 mm, width 229 mm, Southern Netherlands, 1550 - 1600-08, print maker, printmaker, 1582 - 1582, paper, engraving, engraving (printing process), Work conception, Northern Netherlands, 1534 - 1592-05-26

Nuremberg, Solis, Virgil, Personifications of seven planets, The Day of the VIII Planets, Venus, verso - stamped, Numbered upper left: 5., print, prints, height 29 mm, width 51 mm, German, 1514 - 1562-08-01, print maker, printmaker, 1524 - 1562, paper, papier, etching, etchings, plaattoon

Martyrdom of St. Bartholomew, Vespasiano Strada, Italian, 1582 - 1622, Pen and ink, brush and red wash on paper, laid down., The semi-nude figure of an elderly man, tied to a tree, is being skinned by three men., Italy, ca. 1600, figures, Drawing, Drawing

A drunk Bacchante, Pieter van der Plas (II), 1687 - 1708 print Landscape with a drunk Bacchante. She is located on the floor surrounded by children and a saat. On the left a statue of Priapus. On the right in the background a bacchanal. Northern Netherlands paper engraving / etching maenad(s), female bacchant(es). thiasos, i.e. Bacchus' revel-rout, bacchanal without Bacchus. drunkenness. Priapus-herm

Diana and Callisto, Crispy of the Passing (I), 1602 print Diana discovers that Callisto, one of her nymphs, is pregnant with Jupiter. She accusingly points to Callisto, whose clothes are pulled out by nymphs. In the margin a four -line caption, in two columns, in Latin, which actually belongs to the print with Alcmene that gives Hercules. Cologne paper engraving Diana with her nymphs discovers the pregnancy of Callisto

Eva seduces Adam, Johann Sadeler (I), after Chrispijn van den Broeck, 1575 print Eva offers Adam a fruit to the apple of the tree of the knowledge of good and evil. In the tree the snake. Different animals in the background. The fifth print of an eight -part series about the creation story. Antwerp paper engraving Eve simultaneously offers some of the fruit to Adam and takes some more from the serpent (or the tree). animals

Jusepe de Ribera, The Drunken Silenus, 1628 The Drunken Silenus

The Cumeaean sibyl walking to the right and carrying a tray, followed by three women, set within an elaborate frame. Artist: Battista Angolo del Moro (Italian, Verona ca. 1515-ca. 1573 Murano); After Jacques Androuet Du Cerceau (French, Paris 1510/12-1585 Annecy). Dimensions: Sheet (Trimmed): 5 1/16 × 7 1/16 in. (12.8 × 18 cm). Former Attribution: Formerly attributed to Andrea Schiavone (Andrea Meldola) (Italian, Zadar (Zara) ca. 1510-1563 Venice). Date: ca. 1540-80. Museum: Metropolitan Museum of Art, New York, USA.

The Bath House n.d. Albrecht Dürer German. The Bath House 388634

Hercules holds up the world between two philosophers representing astronomy and mathematics. Etching by P. Aquila after G. Rossi after Annibale Carracci.

Hercules Killing Cacus. Dated: 1588. Medium: chiaroscuro woodcut in two shades of sepia and black. Museum: National Gallery of Art, Washington DC. Author: Hendrik Goltzius.

Giovanni Francesco Barbieri, known as Guercino, depicts a half-naked young man seated in a circle of burning candles with magical signs, a kneeling sorceress with a staff, and an observing figure in this feather drawing.

Venus Met Bacchus a Ceres, Jan Saenredam, After Hendrick Goltzius, 1658 - 1664 print Venus sits in a four -poster bed. She embraces Bacchus and Ceres. Bacchus holds a glass and Ceres a horn of abundance. Two putti keep the curtains aside of the bed. At the top right two putti with fruit. Left front a table with a fruit bowl and a water caraf. Front right -hand putto with grapes. Under the show a two -line, Latin text with a description of the scene. paper engraving Without the COVER AND BACCHO CLOVE Venus." Bed

Caution prevents the time of destroying antique images, Gerard de Lairesse, 1670 print Time (Chronos, winged hourglass) wants to play with a stick to break an antique image. He is stopped in this by caution (Prudentia, snake with mirror) that has grabbed his arm. On the left is an already destroyed image on the floor. Amsterdam paper etching Father Time, man with wings and scythe. Prudence, 'Prudentia'; 'Prudenza' (Ripa) ~ one of the Four Cardinal Virtues. allegorical representations of the effects of time. sculpture

Nymphs, saters and putti by a tree with grape vines, Madame de Pompadour, 1752 print paper etching Autumn, Fall, 'autumn'; "Autumn" (bank). Cupids: 'Love' 'Amoretti' 'Putti'. Nymphs (in general); "Ninfe in common" (bank). Satyr (s) (in general)

After Albrecht Dürer, The Bath House, 1514, etching on paper.

Ruben; Twelve sons of Jacob. Ruben, the first son of Jacob. A boar stands next to him, symbolizing the unchastity that Ruben characterized by having community with his father's concubine. Ruben points to the statues of Venus and Cupid, the gods of love and lust in the Roman Pantheon. They form a fountain together. The relief on the water basin of the fountain shows Ruben together with the concubine. All these attributes refer to the Jakobs blessing from Ruben in Genesis 49. The print is part of a series about the twelve sons of Jacob and Patriarchs of Israel and has a Dutch and Latin caption.

Print, The Bath House; Albrecht Dürer (German, 1471-1528); Germany; woodcut and black ink on off-white laid paper

Hercules and the Nemean Lion. Artist: After Giulio Romano (Italian, Rome 1499-1546 Mantua); Adamo (Ghisi) Scultori (Italian, Mantua ca. 1530-1587 Rome). Dimensions: sheet: 8 1/4 x 5 1/2 in. (21 x 14 cm). Museum: Metropolitan Museum of Art, New York, USA.

Nude Children Dancing Under a Canopy, with Two Horses on the Left and a Banner on the Right. Artist: Heinrich Aldegrever (German, Paderborn ca. 1502-1555/1561 Soest). Dimensions: Sheet: 1 11/16 × 4 1/8 in. (4.3 × 10.4 cm). Date: ca. 1532-33. Museum: Metropolitan Museum of Art, New York, USA.

Four witches (four naked women); Wenzel von Olmütz (Fl. 1481-Post 1497), Dürer, Albrecht (1471-1528); after 1497 (1491-00-00-1491-00-00);

Hylas and the Water Nymphs ca. 1635-1700 Pietro Santi Bartoli Italian. Hylas and the Water Nymphs. Pietro Santi Bartoli (Italian, Perugia 1615-1700 Rome). ca. 1635-1700. Engraving. Prints

Silenus reclining before wine vats, he grasps a grapevine and is surrounded by four nude children ca. 1535-73 Hans Liefrinck Netherlandish. Silenus reclining before wine vats, he grasps a grapevine and is surrounded by four nude children 398792

Death comes for Adam and Eva in the Garden of Eden woodcut by Georg Scharffenberg from the dead dance or the dance of death appeared in Basel 1843 / Death Comes for Adam and Eve in the Garden of Eden Woodcut by Georg Scharffenberg from the Death Dance Or the Dance of Death Published Basel 1843, historically, digitally restored reproduction from a template from 19. Century, Record Date Not Stated,

Bacchanaal with Silenus. Drunk Silenus is worn by Satyrs and bacchants in festive procession with musicians.

Drawing after a fresco devised by Giulio Romano in the Palazzo del Te in Manuta. Dionysus and Ariadne with the satyr at left, and the flying putto at right. Date: ca. 1781. Lead pencil, pen, brush and brownish gray watercolors. Museum: Cooper Hewitt, Smithsonian Design Museum.

Paolo Farinato's drawing depicts a marriage scene executed with pen, laved technique, and white highlights on blue paper.

Apostel en Verr Engelen, Giovanni Battista Vanni, After Correggio, 1609 - 1660 print An apostle for and four naked figures (possibly angels) on a wall. print maker: Italyafter painting by: Parmapublisher: Rome paper etching angels. (single) apostle, unspecified

The Calvary 1475-1485 Netherlands. Engraving in warm black on paper . Master I.A.M. of Zwolle

France, Jacquard, Antoine, Les Divers Pourtraicts & figures faictes sus les meurs Des habitans du Nouveau World, Figures in motion, set in architectural niches, Four figures in niches, each in a different stage of decomposition, verso - stamped, print, prints, height 47 mm, width 139 mm, French - 1640, print maker, printmaker, 1610 - 1640, paper, papier, engraving, engraving (printing process)

Odysseus kills De Vrucators with the help of Telemachus, Theodoor van Thulden, After Francesco Primaticcio, 1632 - 1633 print Odysseus kills the lover of his wife Penelope with the help of his son Telemachus. Paris paper etching / engraving Ulysses, assisted by Telemachus, kills the suitors (Homer, Odyssey XXII)

Master of 1515, Bacchanalian Scene with Satyrs and a Maenad, c 1515 Bacchanalian Scene with Satyrs and a Maenad

Venus with the weapons The weapons of Mars on the ground, Anonymous, Jost Amman, 1580 print paper Mars and Venus as lovers. cupids: 'amores', 'amoretti', 'putti'. (story of) Venus (Aphrodite)

Caprarola, Carracci, Annibale, Christ of Caprarola, Lamentation over Christ, verso - stamped, The Marys and John the Evangelist mourn over the dead body of Christ., print, prints, height 123 mm, width 162 mm, Italian, 1560-11-03 - 1609-07-15, print maker, printmaker, 1597 - 1597, paper, papier, etching, etchings, engraving, engraving (printing process), drypoint, dry needle

Prophet with two angels; Dome decorations by Correggio in the S. Giovanni Evangelista in Parma. A prophet standing in front of a balustrade. There are two young naked figures on the balustrade (angels).

Plate 30: Venus and Cupid pleading their case before Jupiter and other Gods with Mercury transporting Psyche to the heavens at lower right, from the Story of Cupid and Psyche as told by Apuleius 1530-60 Master of the Die Italian This book contains 32 plates bound together, 3 of which are by Agostino Veneziano.. Plate 30: Venus and Cupid pleading their case before Jupiter and other Gods with Mercury transporting Psyche to the heavens at lower right, from the Story of Cupid and Psyche as told by Apuleius. The Story of Cupid and Psyche as told by Apuleius. Master of the Die (Italian, active Rome, ca. 1530-60). 1530-60. Engraving. Antonio Salamanca (Salamanca 1478-1562 Rome). Prints

Cain kills Abel, Anonymous, Hans Schäufelein, 1533 print paper the killing of Abel: Cain slays him with a stone, a club or a jaw-bone, alternatively with a spade or another tool as weapon

Saint Jerome in the Wilderness. Dimensions: overall: 14.3 x 20 cm (5 5/8 x 7 7/8 in.). Medium: pen and iron gall ink and gray wash over black chalk on laid paper. Museum: National Gallery of Art, Washington DC. Author: PAUL TROGER.

Iphigenia Herkend Orestes, Venetian Agostino, After Baccio Bandinelli, 1500 - 1536 print Iphigenia, Priestese of Diana, recognizes her brother Orestes and his companion Pylades. The men are fascinated to be sacrificed to Diana. paper engraving Iphigenia recognizes her brother Orestes

Copper engraving by Meister E.S. from the second third of the 15th century depicting a love garden with chess players, showing figures and activity.

Marches Pesaro e Urbino Urbino Museo del Duomo "Albani"4. Hutzel, Max 1960-1990 Post-medieval: Sculpture, paintings, panel painting, triptychs, polyptychs 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.

Women Bathing in a Wood, Surprised by a Satyr 1580-1627 Balthasar Katzenberger German. Women Bathing in a Wood, Surprised by a Satyr 372035

The Fight Between Ulysses & Irus. Artist: Jan Muller (Netherlandish, Amsterdam 1571-1628 Amsterdam); Cornelis Cornelisz van Haarlem (Netherlandish, Haarlem 1562-1638 Haarlem). Dimensions: 42.8 x 33.2 cm. Publisher: Claes Jansz. Visscher (Dutch, Amsterdam 1586-1652 Amsterdam). Date: ca. 1590. Museum: Metropolitan Museum of Art, New York, USA. Author: Jan Muller. CORNELIS CORNELISZ VAN HAARLEM.

Roma. Jacopo Negretti (called Palma il Giovane) (Italy, Venice, circa 1548-1628). Italy, 16th century. Prints; etchings. Etching

Lazio Roma Poli Palazzo dei Conti9. Hutzel, Max 1960-1990 Exterior views of 12th. c. palace, completely redone in 16th. c., including flank, palace chapel and long portal leading to courtyard. Several views of courtyard fountain and loggia, including ceiling frescoes. Many views of the salon and its frescoes. Views of private chapel, with altar painting by Cavaliere d'Arpino and alabaster statues. Many views of entrance hall and its frescoes. Antiquities: Two views of Roman sarcophagus used as water basin. 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,

Suicide of Cleopatra, Raphaël Sadeler (I), After Gillis Coignet (II), 1570 - 1632 print Cleopatra, Queen of Egypt sits naked on a bed. In her hands two snakes that bite her. She decides to put her hand to herself because she does not want to be imprisoned by the Romans. In the background, her service stunned finds her. unknown paper engraving death of Cleopatra: she commits suicide by holding to her breast an asp, which she has taken from a basket of figs

Copper engraving by Monogrammist PP depicting the allegory 'Triumph of Worlds', created around 1500, showing cosmic and earthly motifs.

Meleager and Atalanta. Meleager gives the head of the boar loved by him to Atalanta. Earlier Atalanta was injured by this boar.

Fall of man; SMENSHEN VAL / CASE Hominis / La Cheute de l'Homme; The fall and salvation of humanity. Allegory on the demise of man. The worldly man (Mundanus gay) falls with a table and already through the opened hatch in the floor. The devil (diabolus) keeps his nets ready to catch him. A naked woman, sin (peccatum), draws the worldly man at his jacket so that she can pierce him with her arrow. In the middle, death (Mors) points his arrow on the falling man. He is stopped by the divine grace (Gratia). Above her head The pigeon of the Holy Spirit. All right fight arrogance (arrogantia), the man with helmet, shield and raised sword, ambition (ambition) and violence (Violentia). They fight for the earthly resources that have fallen from the bed from Vanitas through the hole in the floor. The show is clarified in Dutch, French and German captions in the margin.

Jacob Matham, after Hendrik Goltzius, Diana as Luna Accompanying a Young Man Serenading, 1615 Diana as Luna Accompanying a Young Man Serenading

Saint Charles Borromeo Supervising the Opening of a Crypt 1600-1609 Italy. Federico Zuccaro painted another of the Collegio Borromeo frescos. His inscription on this drawing indicates his ownership of the work, which he presumably acquired from Nebbia directly. Its subject matter relates to Borromeoís miraculous discovery of a group of holy relics in a crypt. In each of the three Bross drawings relating to the frescos, the saint is identifiable by his characteristically large nose.. Pen and brown ink, with brush and brown wash, over graphite, on cream laid paper . Cesare Nebbia

Nine dogs Animalivm qvadrvpedvm (series title) Animals in landscapes (series title), print maker: Nicolaes de Bruyn, (mentioned on object), Nicolaes de Bruyn, publisher: Claes Jansz. Visscher (II), print maker: Netherlands, publisher: Amsterdam, 1594 and/or 1621, paper, engraving, h 84 mm × w 129 mm

Seated Faun Holding Cornucopia (recto); Sketch of Tree and House (verso). after Giulio Pippi, called Giulio Romano; Italian, c. 1499-1546. Date: 1540-1600. Dimensions: 198 x 228 mm. Brush and brown wash, heightened with white gouache, and graphite (added later) (recto), on ivory laid paper, and graphite (verso), laid down on cream laid paper. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

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