Mythological and Biblical Themes

A collection of engravings depicting mythological and biblical scenes including Diana and Endymion, biblical figures, and interpretations of martyrdom.

Amsterdam, Visscher, Claes Jansz. (II), Lastman, Nicolaes, Offer van Abraham, verso - stamped, Abraham raises his knife to kill his son Isaac, who is kneeling bound on the altar. However, an angel stops Abraham and shows him a ram that can be sacrificed. In the margin a caption in Latin., print, prent, prints, prenten, height 253 mm, width 198 mm, Work conception, 1586 - 1625-05-06, after a design by, 1601 - 1652, paper, papier, engraving, engraving (printing process), print maker, printmaker, Publication (Event), Publication, Noord-Nederlands, 1586 - 1652-06-19, publisher

Diana in Endymion, Nicolas Lesueur, After Sebastiano Conca, c. 1729 - C. 1740 print Numbered in the bottom right: 134. paper Diana (Luna) visiting the sleeping Endymion

An anonymous drawing titled 'The Angelness,' executed in gray ink with gray wash.

Copper engraving by François Ragot depicting the biblical brazen snake, produced between 1630-1670.

The martyrdom of Saint Bartholomew. Crayon manner print by or after J. Gamelin, 1778/1779.

Juno donates the crown of the doge to Venice, Valentin Lefèbvre, after Paolo Veronese, 1682 print Juno travels in the clouds and pours her treasures, including the crown of the Doge, over the Personified city of Venice. The print is part of a 53-part series of prints to paintings by Titian and Veronese. paper etching (story of) Juno (Hera). personification of a city, town-patron(ess). crown (symbol of sovereignty)

Judit Dijoofdt Holofernes. Judit discharged Holofernes in the army tent. In the background Judits served and in the air angels.

A youth with a bugle by a statue; representing genius. Etching by G.B. Castiglione, 1648, after himself.

St. Benedict Fleeing from the Unchaste Women. Carracci, Lodovico, 1555-1619. 1667 - 1700. Giovannini, Giacomo-Maria, 1667-1717. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Amsterdam, Visscher, Claes Jansz. (II), Lastman, Nicolaes, Offer van Abraham, verso - stamped, Abraham raises his knife to kill his son Isaac, who is kneeling bound on the altar. However, an angel stops Abraham and shows him a ram that can be sacrificed. In the margin a caption in Latin., print, prent, prints, prenten, height 253 mm, width 198 mm, Work conception, 1586 - 1625-05-06, after a design by, 1601 - 1652, paper, papier, engraving, engraving (printing process), print maker, printmaker, Publication (Event), Publication, Noord-Nederlands, 1586 - 1652-06-19, publisher

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

Wisdom Conquers Ignorance. Artist: Bartholomeus Spranger (Netherlandish, Antwerp 1546-1611 Prague); Aegidius Sadeler II (Netherlandish, Antwerp 1568-1629 Prague). Date: n.d.. Museum: Metropolitan Museum of Art, New York, USA. Author: Aegidius Sadeler II. Bartholomeus Spranger.

Wszyscy Święci w MNK Carracci, Agostino (1557 1602), Tintoretto, Jacopo Robusti (1518 1594), Rascichoti, Donati

The Annunciation. Artist: Johann Jakob von Sandrart (German, Regensburg 1655-1698 Nuremberg). Dimensions: sheet: 11 1/8 x 7 1/4 in. (28.2 x 18.4 cm). Date: late 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Cartouche with horse. A Rocaille cartouche at sea, surrounded by weapons, flags, a horse and a sloping man back. Right above A numbered.

Wszyscy Święci w MNK Füger, Heinrich Friedrich (1751 1818), Meyer Basel, Carl Theodor (1860 1932)

Rome, Lanfranco, Giovanni, Italy, Cesio, Carlo, Assumption of Mary, Saint Andrew and a Kneeling Saint Seated on a Cloud, verso - stamped, Saint Andrew and a Kneeling Saint Seated on a Cloud. They are surrounded by angels., print, prints, height 555 mm, width 285 mm, Italian, 1622 - 1682, print maker, printmaker, 1636 - 1686, paper, engraving, engraving (printing process), etching, intermediary draughtsman, after a drawing by, 1582-01-26 - 1647-11-30

Allegorische titelpagina met het portret van schrijver Edward Simson; Titelpagina voor: E. Simson, Chronicon historiam catholicam complectens, 1752.Minerva is next to history and looks over her shoulder to the book in which she writes. History looks at three allegorical women's figures (truth, poetry and a third figure). Behind them Father time, fame and a two-man figure that beats an inscription with a chisel in a pyramid. Four putti flies in the air, with eternity symbols in the hands, carrying the portrait of writer Edward Simson.

Boreas and Oreithyia. Boreas flies away with the desperate Oreithyia in his arms. Blowing putti around them.

The Forges of Vulcan, from Book of Cartouches. Artist: After François Boucher (French, Paris 1703-1770 Paris). Artist and publisher: Johann Georg Hertel (German, Augsburg ca. 1700-1775 Augsburg). Dimensions: Sheet (trimmed): 11 13/16 × 7 13/16 in. (30 × 19.8 cm). Date: mid-18th century. Museum: Metropolitan Museum of Art, New York, USA.

Judith with the head of Holofernes, Parmigianino, 1524 - 1540 print Judith, standing with the knife lifted, puts the severed head of Holofernes in a bag that is kept open by her maid. paper etching Judith and her maidservant put Holofernes' head in a sack

Retirement of Mr. Necker in June 1781. (IT)

Hercules strangles the two snakes in his cradle, Charles Howard Hodges, after Joshua Reynolds, 1793 print Hercules is in his cradle and strangles two snakes with his bare hands. Juno, who sent the snakes, takes the miracle from a cloud. England paper Hercules strangles two serpents in his cradle

Drawing by Bartolomeo Altomonte depicting a guardian angel holding a child, showing interaction and protective gesture.

The Triumph of Truth. Allegory. Engraving in The Iberian Illustration, 1891.

Eneasa's dream, in: "Serie di LXXXV Disegni in Varie Grandezze Composti Dal Celebre Pittore Salvator Rosa ..."; Antonini, Carlo (1749-1835), Rosa, Salvator (1615-1673); 1780 (1780-00-00-1780-00-00);

Drawing, Madonna and the Infant, St. Jerome, Mary Magdalene and Angels, after Correggio; Designed by Felice Giani (Italian, 1758-1823); Italy; pen and black ink, brush and brown wash on paper; 21.8 x 15.4 cm (8 9/16 x 6 1/16 in.)

Allegorical equestrian portrait of Louis XIV, King of France, Gerard Edelinck, After Charles Le Brun, 1677 print A print from two parts with an allegory over the victory of King Louis XIV. Louis XIV is sitting on a horse and tramples his enemies in the form of samples and personifications of opponents and vices. The Holy Trinity holds the French crown over the king's head. In addition to her two angels, one of which holds a flag with areas conquered by France. print maker: Parisafter design by: ParisFrance paper engraving

Saint Luke Painting the Virgin 16th century Raphael Sadeler I Netherlandish. Saint Luke Painting the Virgin 652753

Saint Jerome kneeling beside a tree with his arms outstretched 1640-60 Giulio Carpioni. Saint Jerome kneeling beside a tree with his arms outstretched. Giulio Carpioni (Italian, Venice 1613-1678 Venice). 1640-60. Etching in brown ink; second state of two. Matteo Cadorin (Italian, active ca. 1648). Prints

Danckerts, Cornelis, Flinck, Govert, Amsterdam, Dalen, Cornelis van (II), Allegory of the birth of William III, Prince of Orange-Nassau in 1650, Allegory of the birth of Prince William III, Prince of Orange-Nassau in 1650. The prince lies in a cradle surrounded by, among others, Minerva and Venus and Amor. In the air, Faam blows a trumpet and small angels carry symbols of the future power of the newborn. In the landscape in the background, a view of the Vijverberg with the Binnenhof in The Hague. In the lower margin Dutch verse in four lines., print, prints, height 646 mm, width 446 mm, Northern Netherlands, 1638-12-28 - 1664-10-09, print maker, printmaker, 1650 - 1650, paper, papier, engraving, engraving (printing process), Work conception, 1615-01-25 - 1660-02-02, after a design by, Publication (Event), Publication, publisher

Male god, possibly aeolus, sitting on with air -filled bladder from which wind blows and residents and animals in the North Pole, Cornelis van Dalen (II), After Unknown, 1665 print Male god, possibly aeolus, sitting sitting on with air -filled bladder that blows wind on top of a rock. Residents of the northern polar area are dressed on the ice in warm clothing and with weapons. A half -naked lean woman puts her teeth in a bone. A bear and walrus swim between ice chunks and bears and polar foxes run on the mainland. The empty field on the rock is intended for the title that is still missing here. paper engraving (story of) Aeolus, guardian of the winds; 'Eolo' (Ripa). the polar regions, frigid zones represented allegorically. landscapes in polar regions. beasts of prey, predatory animals: bear. swimming mammals. beasts of prey, predatory animals: fox

Abkoude, Johannes van, Goeree, Jan, Amsterdam, The church and world history from the Aal-old earth description, Title page for Willem Goeree, The church and world history. 1729, Allegory of church and world history, In the clouds the personification 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 medallions of people from world history. Father Time and the personification Faith among them. The winged Time hands a hat (symbol of loyalty) to Faith. In the background a battle., print, engraving, title page, prints, width 147 mm, height, 183 mm, 1670-10-20 - 1731-01-04, print maker, printmaker, 1729 - 1729, paper, engraving (printing process), Work conception, after a design by, Publication (Event), Publication, Northern Netherlands, publisher

The Madonna and Child with Two Angels and Saints Scholastica, Benedict, Roch, Peter, Paul and Jerome. Dated: c. 1740. Dimensions: plate: 46.1 × 28.8 cm (18 1/8 × 11 5/16 in.) sheet: 69.8 × 49.8 cm (27 1/2 × 19 5/8 in.). Medium: etching on laid paper. Museum: National Gallery of Art, Washington DC. Author: Francesco Fontebasso after Sebastiano Ricci.

Rape of Deianira, Woodcut Engraving from the Original 1619 Painting by Guido Reni

Ceres looking for Proserpina, Ceres, goddess of agriculture, drives veiled with a torch in her hand on a door dragons drawn carriage. She is looking for her daughter Proserpina who has been robbed by Pluto. In the foreground, women are sitting by a stream where monstrous creatures swim. Scene from the Metamorphoses of Ovid., Most important deeds: Ceres in search of the daughter Proserpina, whom Pluto carried off, Gerard de Lairesse, 1670 - 1675, paper, etching, h 111 mm × w 154 mm

Allegory of painting with Prometheus, Mercury, Minerva and Pictura with an easel on which a painting. Draughtsman: anonymous. Dating: c. 1700 - c. 1800. Place: Germany. Measurements: h 183 mm × w 148 mm. Museum: Rijksmuseum, Amsterdam.

Procaccini, Camillo, The Transfiguration, print, album page, prints, height mm, width mm, Italian, 1555 - 1629, print maker, printmaker, 1556 - 1629, paper, papier, etching, etchings, Work conception

Man with a flag. A naked man plants a waving flag in the ground. A lion at his feet. In the background a landscape with buildings.

Illustration from 'Tableaux du temple des muses' 1655, depicting the end of the world, from a 1665 edition of Ovid's 'Metamorphoses.' Zeus destroys humanity with perpetual rain. From the collection of Michel de Marolles (1600 - 1681); known as the abbé de Marolles, a French churchman and translator, known for his collection of old master prints.

Martyrdom of Saint Andrew. Dated: 18th century. Dimensions: overall (approximate): 51.9 x 39.1 cm (20 7/16 x 15 3/8 in.). Medium: pen and brown ink, brush and brown ink, and brown wash, heightened with white, on prepared laid paper. Museum: National Gallery of Art, Washington DC. Author: Follower of Francesco Fontebasso.

Umbria Perugia Spoleto S. Maria Assunta, Cathedral3. Hutzel, Max 1960-1990 Exterior views: facade (12th century) with details of the rose window, blind gallery, classicizing architectural sculpture, portal with jambs of inhabited vinescroll, campanile with reused relief fragments (7th-8th centuries), and painting of Christ Blessing flanked by St. John and Virgin Mary (1207). Interior views: pavement in geometric patterns; apse frescoes by Fra Fillipo Lippi (1469) with scenes from the Nativity; fresco of the Pieta by Pinturicchio in the Cappella Eroli (1497); frescoes in the Cappella del'Assunta of Saints Jerome, Michael and Lucy, and ceiling frescoes of Noah, Adam and Melchisedek; paintings, cruicifixes, marbles busts of the Cardinal Eroli and Lippi in the Cappella delle Reliquie; marble statues of Kings David and Solomon in the baroque Cappella della SS. Icone; 14th and 15th century frescoes and a baroque frieze in the Cappella S. Anna; and perhaps a marble statue by Bernini in the wo

Copper engraving by Marinus Robin van der Goes, created between 1630 and 1639, depicting the martyrdom of St. Apollonia with detailed figures, gestures, and setting.

Venus points Aeneas and Achates the road to Dido's Palace, Giovanni Domenico Tiepolo, After Giovanni Battista Tiepolo, 1757 - 1760 print Aeneas and Achates were washed up at Carthago when Venus disguised as a hunes appears and points them the way to Dido's Palace. paper etching (story of) Aeneas. (story of) Venus (Aphrodite). the meeting of Aeneas and Achates with Venus, disguised as a huntress; she points out twelve swans in the sky

Antoine Aveline after Jean Mondon, Le Galand Chasseur, 1736 Le Galand Chasseur

Orestes pursued by the Furies Lematte, Fernand Jacques François (French painter, 1850-1929). still image. Art reproductions. 1878. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection. Serpents , Mythology, Ghosts, Fear, Mythology, Greek, Orestes (Greek mythology), Nightmares, Clytemnestra (Greek mythology), Erinyes (Greek mythology), Furies (Roman mythology)

Judit Dijoofdt Holofernes. Judit discharged Holofernes in the army tent. In the background Judits served and in the air angels.

Aurora leads the car of Apollo, Jakob Frey (I), after Guido Reni, 1722 print Germany paper etching / engraving Apollo in the chariot of the sun, drawn by four horses, usually preceded by Aurora holding a torch; 'Carro del Sole' (Ripa)

De Smidse van de Cyclopen, Cornelis Cort, After Titian, 1572 print The Cyclopes are forging in the blacksmith's weapon. Four Cyclopes hit the anvil with hammers. Another takes iron from the fire. A lion looks at the working cyclopen. paper engraving (story of) Cyclopes as fellow blacksmiths of Vulcan, in the god's forge

Kidnapping of Europe watched by Britannia, Cornelis Martinus Vermeulen, After Adriaen van der Werff, 1721 - 1774 print The kidnapping of Europe by Jupiter in the form of a bull. Britannia, personified by Themis as a personification of justice, is sitting with a scales and sword tried between two columns under a drapery and watches. On the left is a woman next to a burning altar. On the right is a woman with lance with a hate of freedom. A fleet in the background. paper etching / engraving Jupiter, usually in the shape of a white bull, abducts Europa and carries her across the water. personifications of countries, nations, states, districts, etc.. Justitia (justice) as Roman personification

Saint Mark ca. 1761-65 Jean Honoré Fragonard French. Saint Mark 399388

Samson holding the jaw bone of an ass over his head and standing next to the Philistines he has just killed, more dead bodies in the background, a tapered composition with rounded top, after Reni. Artist: After Guido Reni (Italian, Bologna 1575-1642 Bologna); Flaminio Torre (Torri) (Italian, Bologna 1620-1661 Modena). Dimensions: Sheet (Trimmed): 15 5/16 × 12 3/16 in. (38.9 × 31 cm). Date: ca. 1640-60.After a painting by Reni. Verso not visible as print is laid to another sheet of paper. Museum: Metropolitan Museum of Art, New York, USA.

Female shield holder. Female shield holder in an oval niche, turned to the left, with a hand on her hip. In each hand she holds a ribbon that is stuck to a diamond shield.

Portrait of Carolus de Visch Prior of the Ten Duinen Abbey, Cornelis van Caukercken, c. 1640 - 1680 print Southern Netherlands paper engraving

Design for a ceiling painting with Venus, Minerva and Juno ..

Copper engraving and etching by Ferdinandus Gregori depicting an allegory of the consequences of war, showing Mars leaving the Janus temple, produced in 1771.

Albrecht Dürer, The Passion: The Harrowing of Hell, 1512, engraving on paper.

Weyen, Herman, Rubens, Peter Paul, Bolswert, Schelte Adamsz., Resurrection of Christ, verso lower left - stamped, Christ rises from his grave and the guards react with shock to his appearance. Below the representation is a quotation from Romans 4., print, prints, height 644 mm, width 307 mm, Work conception, South Netherlands, 1586 - 1659-12-12, after print by, 1596 - 1709, paper, engraving, engraving (printing process), 1577-06-28 - 1640-05-30, after, after painting by, print maker, printmaker, Publication (Event), Publication, French - 1672-02-27, publisher

'Minerva protecting Telemachus, and preserving him from the Shafts of Love', 1775.Artist: W Walker

Finale du Rheingold , Fictitious characters, Gods, Goddesses, Freyr Norse deity, Thor Norse deity, Odin Norse deity, Frigg Norse deity, Freya Norse deity, Loki Norse deity, Wagner, Richard, 1813-1883. Ring des Nibelungen. Rheingold. Henri Fantin-Latour (1836-1904). Lithographs and Other Prints

Vuur, Johann Sadeler (I), After Maerten de Vos, 1560 - 1600 print Personification of the fire: sitting woman in landscape, in the right hand a lightning bolt, a salamander in the left hand. A sea of fire in the background. unknown paper engraving 'Fire', 'Carro del Fuoco' (Ripa). Salamander (Fabulous Animal); Salamander As Spirit of Fire. Open Fire (in General). Volcano

Prélude de Lohengrin (1re planche) , Angels, Knights, Trumpets, Religious articles, Swan-knight Legendary character, Wagner, Richard, 1813-1883. Lohengrin. Henri Fantin-Latour (1836-1904). Lithographs and Other Prints

Design for a ceiling painting with Venus, Minerva and Juno, Vittorio Maria Bigari, 1702 - 1776 drawing paper. pencil. chalk. ink pen / brush assemblies of the gods in the air, possibly on the clouds. (story of) Juno (Hera). (story of) Minerva (Pallas, Athena). (story of) Venus (Aphrodite)

Print made by Wallerant Vaillant, 1623-1677, Dutch, Adonis dies in the arms of Venus, undated. Mezzotint on moderately thick, moderately textured, cream, laid paper.

Galle, Cornelis (known as the old). Judith cutting Holopherne's head, according to Rubens (Dutuit 27). Cure with brown ink enhancement, 17th century. Museum of Fine Arts of the City of Paris, Petit Palais. XVIIEM XVIIth XVII 17th 17th 17th century, engraving

Photo production of a painting, representing the holy Cecilia playing on an organ; Roma - Accademia di Belle Arti di S. Luca - Santa Cecilia Che Suona l'Organo (Conca Sebastiano). Part of photo album from a journey through Southern Europe and the Middle East.

Illustration to the Tempest: Caliban, Ferdinand and Ariel 1836 Charles Gray British. Illustration to the Tempest: Caliban, Ferdinand and Ariel 685335

A feather drawing by an anonymous artist showing the vision of Saint Ignatius of Loyola in La Storta, lavated in gray, with the upper part trimmed.

Martyrdom of Saint Ursula Saint Paula. Artist: Anonymous, Italian, Roman-Bolognese, 17th century. Dimensions: 16-1/8 x 10-1/2 in. (41.0 x 26.7 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Samson holding the jaw bone of an ass over his head and standing next to the Philistines he has just killed, more dead bodies in the background, a tapered composition with rounded top, after Reni ca. 1640-60 Flaminio Torre (Torri) Italian After a painting by Reni. Verso not visible as print is laid to another sheet of paper.. Samson holding the jaw bone of an ass over his head and standing next to the Philistines he has just killed, more dead bodies in the background, a tapered composition with rounded top, after Reni 669305

Copper engraving by François Ragot from 1630-1670 depicting the conversion of St. Paul, showing the figure of Paul, horse, and attendants.

The Ascension of Christ (recto); Head of a Bearded Man Looking Down (verso). Artist: Pierre Charles Trémolières (French, Cholet 1703-1739 Paris). Dimensions: 31 7/8 x 18 9/16 in. (81 x 47.1 cm). Date: ca. 1737. Museum: Metropolitan Museum of Art, New York, USA.

Drawing by Bartolomeo Altomonte in stone chalk with engraved details, depicting the glory of St. John Nepomuk.

Valizing an upstandige angels, Alexis Loir (I), After Charles Le B brun, 1650 - 1713 print paper etching / engraving

The triumph of the Church, according to Rubens (Dutuit 8) Bo�tius Adamsz Bolswert (said Biodius), Adams Schelte. The triumph of the Church, according to Rubens (Dutuit 8). Burin, 17th century. Museum of Fine Arts of the city of Paris, small palace.

Hendrick Goltzius copper engraving depicting Jupiter and Io, created in 1589, illustrating the mythological encounter.

Deïanira kidnaps by Nessus, Jean Audran, After Guido Reni, 1677 - 1756 print print maker: Francepublisher: Paris paper engraving / etching Hercules shoots Nessus, the centaur, who attempts to carry off Deianira

Time cuts the wings of Amor, François Perrier, 1632 - 1633 print France paper etching Father Time, man with wings and scythe. suffering, misfortune of Cupid

Moderation with unicorn on a cloud, Michel Dorigny, after Simon Vouet, 1638 print paper engraving / etching Temperance, 'Temperantia'; 'Temperanza' (Ripa) ~ one of the Four Cardinal Virtues. assemblies of the gods in the air, possibly on the clouds. unicorn

Leiden, Linden, Johannes van der (publisher), Wandelaar, Jan, Title page for: Edward Simson, Chronicon historiam catholicam complectens, 1729, Allegorical title page with the portrait of writer Edward Simson, verso - stamped, Minerva sits next to History and looks over her shoulder at the book in which she is writing. History looks up at three allegorical female figures (Truth, Poetry and a third figure). Behind them Father Time, Fame and a two-headed figure who chisels an inscription into a pyramid. In the air fly four putti, holding symbols of eternity in their hands, carrying the portrait of the writer Edward Simson., print, engraving, title page, prints, engravings, height 367 mm, width 238 mm, Noord-Nederlands, 1690-04-14 - 1759-03-26, print maker, printmaker, 1729 - 1729, paper, engraving (printing process), etching, Work conception, after own design by, Publication (Event), Publication, publisher

Torture death of the H. Laurentius. .

Järnefelt, Eero, work name: Pyykkäri, soft ground etching, graphics, plate width 16 cm, plate height 24.4 cm, leaf width 18, 6 cm, leaf height 25.3 cm, Erik 'Eero' Nikolai Järnefelt 1863 - 1937, Finnish painter and art professor. Known for his portraits and landscapes of the area around Koli National Park in Finland.

Roof van Proserpina, Cornelis Cort, after Frans Floris (I), 1565 print Pluto drags Proserpina to his victory car. Proserpina screams for help. The horses with the victory car are waiting at a forest. paper engraving the rape of Proserpina (by Pluto in his chariot); possibly with Diana and Minerva trying to rescue her

Francesco Fontebassos chalk drawing depicts Armida begging Gottfried for help, executed with brown and gray pen.

Allegory of the Foglia River and the city of Pesaro's coat of arms, frontispiece for 'Il Pesarese'. Artist: Simone Cantarini (Italian, Pesaro 1612-1648 Verona). Dimensions: Sheet: 8 1/4 x 5 3/8 in. (20.9 x 13.6 cm)Plate: 5 3/8 x 3 7/16 in. (13.7 x 8.8 cm). Date: 1639. Museum: Metropolitan Museum of Art, New York, USA.

Floris, Frans (I), Sadeler, Johann (I), Christ on the Cross, verso lower left - stamped, Christ on the Cross. The kneeling Mary Magdalene embraces the cross. On the right in the background one of the crucified murderers. The cross is constructed from tree trunks., print, prent, prints, height 205 mm, width 148 mm, Work conception, Southern Netherlands, 1550 - 1600-08, after print by, 1560 - 1650, paper, engraving, engraving (printing process), print maker, printmaker, 1520 - 1570-10-01

Allegory on peace. Peace burns a stack of weapons; In the foreground is peace with horn of abundance and embraces a statuette of Minerva (). In the background a Janus Temple with closed doors. Design for a painting.

Christ Triumphant Appearing to an Interceding Saint, 1600s. Italy, Bologna, 17th century. Pen and brown ink and brush and brown wash; framing lines in brown ink; sheet: 38 x 25.8 cm (14 15/16 x 10 3/16 in.); image: 37.2 x 25 cm (14 5/8 x 9 13/16 in.); secondary support: 38.6 x 26.6 cm (15 3/16 x 10 1/2 in.).

Lazio Roma Rome S. Croce in Gerusalemme6. Hutzel, Max 1960-1990 Medieval: Cosmati pavement, architecture (facade). Post-medieval: Architecture, architectural sculpture, sculpture, frescoes: "Leggenda della Santa Croce," Antoniazzo Romano (attr) & "S. Elena sale al cielo," Corrado Giaquinto; mosaic ceiling in Cappella di S. Elena; coats-of-arms 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.

Italy, Michelangelo, Ghisi, Giorgio, The Last Judgement, sheet G, verso - stamped, A detail from the fresco 'The Last Judgement' by Michelangelo in the Sistine Chapel. Marked lower right: G., print, prent, prints, prenten, height 387 mm, width 324 mm, Italian, 1520 - 1582-12-15, print maker, printmaker, 1530 - 1582, paper, papier, engraving, engraving (printing process), Work conception, 1475-03-06 - 1564-02-18

Vatican City, Raphael, Italy, Villamena, Francesco, La Sacra Genesi, Paintings in the Loggia of Raphael, God separates the light from the darkness, verso - stamped, The first day of creation on which God the Father separates the light from the darkness. Numbered lower right: 1. Reference to Bible text in lower margin., print, prent, prints, prenten, height 144 mm, width 251 mm, Italian, 1566 - 1624-07-07, print maker, printmaker, 1626 - 1626, paper, papier, engraving, engraving (printing process), etching, plate tone, 1483-04-07 - 1520-04-07, after a painting by

Venice, Bertelli, Luca, Tintoretto, Jacopo, Italy, Carracci, Agostino, Temptation of Saint Anthony, recto lower right - handwritten in brown ink, Saint Anthony together with four horned women in a landscape. The women pull him by his garment and assail him in all kinds of ways. On the right the pig. Above appears God the Father., print, engraving, prints, engravings, verso - stamped, Augg: Carracius fe:, height 502 mm, width 331 mm, Italian, 1557 - 1602-03-22, print maker, printmaker, 1582 - 1582, paper, papier, engraving (printing process), Work conception, 1519 - 1594, after a design by, Publication (Event), Publication, publisher, uitgever

Wszyscy Święci w MNK The putt, 1711 179), 6955) 174) 174) 174) 174) 174)

The Triumph of Bacchus 1776 Isaac Jehner. The Triumph of Bacchus. Isaac Jehner (British, London 1750-1818). 1776. Mezzotint. Prints

Patron saints of Bologna looking upwards at the Virgin who is seated in the clouds with the infant Christ on her lap, after Reni. Artist: After Guido Reni (Italian, Bologna 1575-1642 Bologna); Flaminio Torre (Torri) (Italian, Bologna 1620-1661 Modena). Dimensions: Sheet: 25 1/8 × 15 13/16 in. (63.8 × 40.2 cm). Date: 1640-50.After a painting by Reni. Saints depicted include Petronius, Francis of Assisi, Dominic, and four others. Museum: Metropolitan Museum of Art, New York, USA.

Truth is the daughter of time. Father's time, with hourglass and wings, flies to the sun with the personification of truth (veritas) on his shoulders. On the ground the reports are required (Invidia). Time always brings the truth to light. The print has a Latin caption.

Mother and Child appearing to monks, in an album with prints after Guercinos drawings. Bartolozzi, Francesco (1727-1815), graphic artist, Guercino (1591-1666), draughtsman, cartoonist, Piranesi, Giovanni Battista (1720-1792), publisher, Salomoni, Giovanni Generoso (1714-1779), printer

Saint Roch Interceding on Behalf of Plague Victims. Dated: 1567/1573. Dimensions: overall: 38.6 x 23.6 cm (15 3/16 x 9 5/16 in.). Medium: pen and brown ink with brown wash over black chalk, heightened with white gouache on paper washed brown. Museum: National Gallery of Art, Washington DC. Author: Lattanzio Gambara.

Four Putti Making Music, Study after Lodovico Carracci; Christ, Study after Massari, Felice Giani, Italian, 1758-1823, Pen and ink, brush and brown wash, over black chalk on white wove paper, Upper drawing of four putti, one with wings, on clouds, one sings from scroll, and one plays horn. Lower drawing of entombment of Christ, with two men carrying corpse, winged putto at lower right, and woman and three figures crowding in from the left., Italy, 1821-22, figures, Drawing, Drawing

Amor vullat psyche, nicolas Henri Tardieu, After Antoine Copenel, 1684 - 1749 print paper etching / engraving Cupid leaves the desperate Psyche behind

The Triumph of Truth. Allegory. Engraving in The Iberian Illustration, 1891.

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