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

Saint Lawrence at the Stake ca. 1640-70 Attributed to Cornelis Meyssens Flemish. Saint Lawrence at the Stake. Attributed to Cornelis Meyssens (Flemish, born before 1640). ca. 1640-70. Engraving; reverse copy. Johannes Meyssens (Flemish, Brussels 1612-1670 Antwerp). Prints

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

Robert Thew, 1758-1802, British, MacBeth, Act I,V Scene I: "A Dark Cave in the Middle a Cauldrom Boiling", 1803. Engraving.

Telemachus led by Minerva descends to hell and asks Pluto for permission to tell his beloved father. Old 18th century engraving from the book the adve

Campania Caserta Caserta Palazzo Reale35. Hutzel, Max 1960-1990 Post-medieval: Architecture & architectural sculpture, sculpture, statues, paintings, frescoes, stuccoes, furnishings & decorative art General Notes: Discrepancy in number of prints & negatives. Hutzel notes 824 prints & negatives. Negatives for 1-62 of one batch seem to be missing (would make a total of 824) German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

The Virgin and Child with Saints and Angels, and God the Father in the Sky. Artist: Johann Lorenz Haid (German, Kleineislingen 1702-1750 Augsburg). Dimensions: Sheet: 16 5/8 × 12 3/16 in. (42.2 × 30.9 cm). Date: mid-18th century. Museum: Metropolitan Museum of Art, New York, USA.

Prometheus to the rocks of the Caucasus chained / tityus in hell. Presentation with two possible interpretations: 1. Tityus is punished in hell. He has been chained to a rock while an eagle pulls his liver from his body. 2. Prometheus chained to the rocks of the Caucasus. An eagle picks up the liver daily.

The Resurrection of Christ, print maker: Hendrick Goltzius, Philips Galle possibly, 1578

Diana and Endymion. Diana visits the eternal sleeping endymion at night. She lifts his blanket and looks at his face. On the right a narrow crowbar.

Prophet with three angels, Sisto Badalocchio, After Correggio, 1591 - 1647 print A prophet standing in front of a balustrade, with raised arms. There are three young naked figures on the balustrade (angels). print maker: Italyafter painting by: Parma paper etching prophets, sibyls, evangelists, Doctors of the Church; persons ~ the Bible (not in biblical context). angels

Feather drawing by an Italian artist depicting the Holy Family and other figures, lavished around 1700.

A copper engraving from 1518 by Agostino Veneziano depicting Saint Matthew, highlighting figure, composition, and engraving technique.

The Four Horsemen of the Apocolypse (Revelation 6:1-8) Luigi I Sabatelli (1772-1850 Italian) Chalk & ink

The Holy Family with God the Father. Dimensions: plate: 20.5 x 14.5 cm (8 1/16 x 5 11/16 in.); cut to platemark. Medium: aquatint with etching in brown on laid paper. Museum: National Gallery of Art, Washington DC. Author: Gaetano Gandolfi.

Endymion and the Moon. Engraved illustration from 'The Temple of the Muses', 1733. This book represented remarkable events of antiquity drawn and engraved by Bernard Picart (1673-1733). In Greek mythology, Endymion was variously a handsome Aeolian shepherd, hunter, or king who was said to rule and live at Olympia in Elis. Apollonius of Rhodes tells how Selene, the Titan goddess of the moon, loved the mortal. She believed him to be so beautiful that she asked Endymion's father, Zeus, to grant him eternal youth so that he would never leave her. Alternatively, Selene so loved how Endymion looked when he was asleep in the cave on Mount Latmus, near Miletus in Caria, that she entreated Zeus that he might remain that way. In either case, Zeus granted her wish and put him into an eternal sleep. Every night, Selene visited him where he slept

Drawing, Design for a Painted Panel; Designed by Etienne de Lavallée-Poussin (French, 1735-1802); France; a cloacked figure is seen seated in meditation near a herm. above, the flying nude figure of diana, who pours water from two pitchers.she appears against clouds and an arc, on which rest two urns, one superimposed on the other, and from which two swags i; 23.2 × 9.1 cm (9 1/8 × 3 9/16 in.)

Sepia and white heightened drawing by Heinrich Friedrich Füger, created after 1795, depicting the mythological figures Jupiter and Minerva in a classical composition.

Saint John, writing, seated on an Eagle, Giulio Romano, Italian, 1499-1546, Agostino Veneziano, Italian, ca. 1490 - after 1536, Antonio Salamanca, Italian, ca. 1500 - 1562, Engraving on paper, Saint John, sitting within a penumbra of light, on the back of a winged eagle atop a cloud, writing on a tablet, Rome, Italy, 1518, religion, Print, Print

Dike breach and flood in Holland, 5 November 1530. Dike breach and flood, November 5, 1530. Flooding with disaster victims in the foreground. Design for a print.

Minerva; Three goddesses in the clouds. Minerva sitting in her armor on a cloud. In the background, the goddess drives into a carriage carriage, under the cloud, Pallas is in the company of the nine muses and Pegasus.

st, Dr, -signaz -Seipel -Platz - Academy of Sciences - Aula of the Old University - Interior view - ceiling painting, Bruno Reiffenstein -, photographer

Umbria Perugia Todi SS. Annunziata, Duomo7. Hutzel, Max 1960-1990 Medieval core collection: exterior and interior views of this 12th-16th century structure. Exterior photo coverage includes the three rose windows, architectural sculpture of the apse and nave walls, bell tower and a sculpted man's head in a roundel with an inscription. Views of the interior, restored in 1958, focus on the nave capitals (c. 1270) which are largely Corinthianesque. Between the acanthus of some pier capitals are sculpted figures, including St. Peter, St. Paul, St. Michael, Christ, and the Virgin with the Holy Spirit.. Hutzel collection: exterior views of the main rose window, portal sculpture (c. 1520) and details of the wooden doors carved with bishops. Interior views include: a large fresco of the Last Judgment by il Faenzone (inspired by Michelangelo's); wood intarsia choirstalls; a painted crucifix in the style of Cimabue (late 13th century); a gothic baptismal font; marble statues; an altarpiece from

Sketchbook Folio, The Apostles Carrying the Body of the Virgin to the Tomb, Study after Lodovico Carracci; Designed by Felice Giani (Italian, 1758-1823); Italy; pen and brown ink, brush and dark brown wash over black chalk on white laid paper; 21.8 x 15.3 cm (8 9/16 x 6 in.)

France, Louis XIV (king of France), Paris, Tortebat, François, Vouet, Simon, Parijs, Allegory of Power, verso - stamped, Power seated on a lion and leaning on a globe above which Victoria floats with a laurel wreath in her hand., print, prints, height 316 mm, width 205 mm, 1621 - 1690-06-04, print maker, printmaker, 1666 - 1666, paper, papier, engraving, engraving (printing process), etching, stipple work, French, 1590-01-09 - 1649-06-30, after, after painting by, Publication (Event), Publication, publisher, uitgever, Frans, 1638-09-05 - 1715-09-01, gever van privilege

Death of Marcus Junius Brutus, Ludwig Gottlieb Portman, after Jacques Kuyper, 1801 print At his own request, Brutus is stabbed to death with a sword by one of his slaves. Amsterdam paper etching (story of) Marcus Junius Brutus - death of person from classical history. slavery; serfs and the enslaved

Apollo re-inspires Hector still image. Illustrations. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection. Homer. Iliad, Apollo (Greek deity), Fatigue, Hector (Legendary character)

The Resurrection, from The EngravedPassion. Artist: Albrecht Dürer, German, 1471-1528

Augsburg, Merz, Johann Georg, Mondon, François-Thomas, L'Amour Couronne, Der gekrönte Cupido, Gekroonde Cupido, verso - stamped, On a rocaille ornament and clouds sit two putti with a quiver and a bow. The front putto crowns the other putto with a wreath. Numbered K at the top right., print, ornament print, prints, ornament prints, height 223 mm, width 176 mm, print maker, printmaker, 1736 - 1762, paper, papier, etching, etchings, Work conception, French, 1709 - 1755, after a design by, Publication (Event), Publication, German, 1694 - 1762, publisher

Cherubino Alberti, An Allegorical Figure Virtutis Praemium, 1628 An Allegorical Figure: Virtutis Praemium

Possible design for a print, Amor sends Fama away to proclaim his conquest, draughtsman: Sigmund Ferdinand Ritter von Perger, 1788 - 1841, paper, pen, brush, h 103 mm × w 70 mm

Apotheosis of Jacobus I (king of England). .

Francisco de Goya (1746-1828). Spanish painter and printmaker. Los Caprichos. Alla va eso (There goes this). Number 66. Aquatint. 1799. Reproduction by M. Segui i Riera.

Allegory of the Immaculate Conception with the Fall of Man. Artist: Alessandro Turchi (Italian, Verona 1578-1649 Rome). Dimensions: 21-1/4 x 11-1/2 in. (53.9 x 29.2 cm). Date: 1578-1649. Museum: Metropolitan Museum of Art, New York, USA.

Kroning Van Maria Op Maansikkel, Simone Cantarini, 1622 - 1648 print Maria stands on a crescent moon and is crowned by two putti. Under her three cherubs. Italy paper etching Madonna on the crescent of the moon (sometimes called Queen of Heaven) (in mandorla). coronation of Mary by one or more angels

Apocalypsis cu Figuris 1511 Albrecht Dürer German. Apocalypsis cu Figuris 345010

Earth Receiving the Code of Roman Law from the Emperors Hadrian and Justinian 1802-03 Charles Meynier French. Earth Receiving the Code of Roman Law from the Emperors Hadrian and Justinian. Charles Meynier (French, Paris 1768-1832 Paris). 1802-03. Pen and brown ink, brown wash, heightened with white over black chalk on brownish paper. Squared in black chalk.. Drawings

Time Clipping the Wings of Love 1760-1770 Ireland. Mezzotint on ivory laid paper . James MacArdell

Nemesis. Artist: Albrecht Dürer, German, 1471-1528

János Mihály Hesss drawing depicts Psyche encountering Jupiter with Juno behind, executed in black and gray chalk with white highlights on blue paper and double black edging lines, emphasizing mythological figures.

Moses' arms raised by Aaron and Hur; Les Plat-Fonds Ou Les Tableaux des Galleries / ceilings or gallery pieces. Moses' arms are held up by Aaron and Hur. Under the rectangular representation a verse in Latin from ex. 17: 10-12.

Adam, Eva and Death, 1645 - 1646 print Adam upwards a tree with the help of death. To the right of them an hourglass. Left Eva. The print is part of an album. paper letterpress printing dance of Death; Death together with one or more human beings. Adam engaged in agricultural activities, Eve suckling the children

Offer by Abraham, Jan van Somer, after Pieter Lastman, 1655 - 1700 print Abraham is about to sacrifice his son Isaac as God has instructed him. However, an angel stops Abraham. Instead of his own son, Abraham sacrifices a ram, which is entangled in the Braam bushes. paper Abraham picks up the knife to kill Isaac

Angels in glory. A group of floating putti, surrounded by clouds.

On the banner on the left: perspective / boúkúnde / painting / sculpture / engraving. On the banner on the right: the major / Painting book / of G Lairesse / Anno 1702., Frontispiece Design for the major painting book., draughtsman: Philip Tidemann, Gerard de Lairesse, 1702, paper, pen, brush, h 166 mm × w 134 mm

Abraham Bosse after Claude Vignon, Illustration to Jean Desmarets' L'Ariane, published 1639 Illustration to Jean Desmarets' L'Ariane

Triumph of Governor Starrenburg. Governor Starrenburg is central to the print. He is wearing a harness and stands on the weapons and banners of overcome Ottoman fighters. In addition to him on the floor, the captured heads of some of these Ottoman soldiers lie. He is accompanied by hope, faith and love on the stairs of honor towards Hemelberg, where a triumphal arch waits for him. A cartouche at the top of the print has a Latin motto. The print has a Dutch caption: 'Ghysterbergh Siet Siet here with a Volmaeckt. Front of the Ryck, and Van't Unnoosel bleeds. Gaen on the staircase of honor, climbing S'Bemels, now that he has Godten Segents for East Ryck. The hope gives him, the love drives him. And does Doot't Waer Gheloof Den Mahometers'.

Allegorical composition by Felix Meritis, Jacques Kuyper, 1784.

Allegory in true faith. Justice is on a cloud, in addition to her the dining of law. A putto shows her a mirror. For her there is an altar on which three religious books lie. Truth kneels for the altar and is raised by an allegorical woman's figure. With them a putto that lets a plow commute. To the right, an allegorical woman's figure with a scourge two figures.

Earth. Artist: After François Boucher (French, Paris 1703-1770 Paris); Jean Daullé (French, Abbeville 1703-1763 Paris). Dimensions: Sheet (trimmed): 12 5/8 × 10 1/4 in. (32.1 × 26 cm). Date: ca. 1748. Museum: Metropolitan Museum of Art, New York, USA.

Paris, Duchange, Gaspard, Lesueur, Eustache, Picart, Bernard, Dupuis, Charles, Les peintures de Charles le Brun et d'Eustache The Sueur qui sont dans la maison du Président Lambert, Phaëton en Apollo, verso - stamped, Phaëthon begs the sun god Apollo, to be allowed to ride in the sun chariot for a day. Apollo spreads his hands above his son's head. On the left, men hold the horses for the sun chariot in check. Aurora, the goddess of the dawn, flies above center with her torch. On the right, Father Time with his scythe, Ceres with ears of corn, and the Hours with flowers in their hands. On the left, the Four Winds. After the painting in the Chambre des Muses in the Hôtel Lambert. Print is part of a series of prints after the paintings in the Hôtel Lambert in Paris., print, prints, height 475 mm, width 580 mm, 1685 - 1742-03-03, print maker, printmaker, 1695 - 1742, fourth quarter 17th century, first quarter 18th century, second quarter 18th century, paper, etching, etchings, engraving,

To clear his name, Bellerophon performs various tasks for Iobates of Lydia, including slaying the monstrous Chimaera

London, Boydell, John, Poussin, Nicolas, Tassaert, Philippe Joseph, Bacchantes, verso - stamped, Naked Bacchantes in a Wood. A young woman climbs onto the back of a satyr, assisted by a putto. Behind them walks a man with a basket on his back filled with wine and grapes., print, prints, height 617 mm, width 386 mm, South Netherlands, 1732-03-18 - 1803-10-06, print maker, printmaker, 1769 - 1769, paper, mezzotint, engraving, engraving (printing process), French, 1594-06 - 1665-11-19, after, after painting by, Publication (Event), Publication, English, 1719 - 1804, publisher

Wszyscy Święci w MNK Cort, Cornelius (1533 1578), Salviati, Francesco (CA 1509/1510 1563), Vaccaro, Lorenzo (1655 1706)

Ferrer, Vinzenz.

Maulbertsch, Franz Anton, Germany, Schmutzer, Jakob Matthias, St. John Nepomuk as advocate of the dying, verso - stamped, A man lies on his deathbed, surrounded by figures. In the sky St. John Nepomuk, surrounded by angels, one of whom holds a crucifix, in a supplicating attitude. In the foreground two columns., print, prints, height 414 mm, width 311 mm, 1733-04-05 - 1811-12-02, print maker, printmaker, 1750 - 1770, paper, papier, etching, etchings, engraving, engraving (printing process), 1724-06-08 - 1796-08-08

Female personification of continent Africa as a woman with lion skin sitting between Lions, Cornelis van Dalen (II), 1648 - 1664 print Female personification of continent Africa as a woman with lion skin sitting between lions. She gestures to heaven where signs of the zodiac are visible, thus ending her indignation. There is a armor in the foreground. Amsterdam paper etching / engraving Africa represented allegorically; 'Africa' (Ripa). beasts of prey, predatory animals: lion

Allegorical composition by Felix Meritis, Jacques Kuyper, 1784

Drawing by Gabriel François Doyen depicting Juno and Aeolus, executed with feder in black and brown brush with white highlights in 1753.

Print, Hommage Champètre; Designed by François Boucher (French, 1703-1770); Print Maker: Claude Augustin Duflos (French, 1700-1786); Published by Nicolas de Larmessin IV (French, 1684 - 1755); France; etching and engraving on white laid paper; Platemark: 50 x 25.5 cm (19 11/16 x 10 1/16 in.) Sheet: 63.9 x 44.5 cm (25 3/16 x 17 1/2 in.)

Aurora Eos. Engraving by G.H. Frezza, 1704, after P. de Petris after F. Albani.

Campania Caserta Caserta Palazzo Reale32. Hutzel, Max 1960-1990 Post-medieval: Architecture & architectural sculpture, sculpture, statues, paintings, frescoes, stuccoes, furnishings & decorative art General Notes: Discrepancy in number of prints & negatives. Hutzel notes 824 prints & negatives. Negatives for 1-62 of one batch seem to be missing (would make a total of 824) German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

The Fall of the Giants. Salvator Rosa; Italian, 1615-1673. Date: 1663. Dimensions: 728 x 474 mm. Etching with drypoint in black on ivory laid paper. Origin: Italy. Museum: The Chicago Art Institute, USA.

Quadrijugis invectus equis sol aureus exit (The Golden Sun Leaves Driven by a Team of Four Horses), after a ceiling fresco of 1614 in the Casino dellAurora, Pallavicini-Rospigliosi, Rome. Engraver: Raphael Morghen, Italian, 1758-1833 After: Guido Reni, Italian, Bologna, 1575-1642 Publisher: Giovanni Volpato, Italian, 1740-1803

Engel plays Luit on the floor, two putti singing, Richard de Saint-Non, after Jean Honoré Fragonard, after Marco Antonio Fransschini, 1772 print Possibly the repentant Maria Magdalena. paper etching the penitent harlot Mary Magdalene; possible attributes: book (or scroll), crown, crown of thorns, crucifix, jar of ointment, mirror, musical instrument, palm-branch, rosary, scourge. angels singing, making music

A chalk and feather drawing by Francesco Solimena depicting a Sybil, with reddish and gray-lavated tones.

Cassandra predicts the downfall of Troy by Groningen, Jan Swart van (1500-after 1562)/ Rijksmuseum, Amsterdam/ 1550-1555/ The Netherlands/ Copper engraving/ Renaissance/ Mythology, Allegory and Literature

The Creation of Adam 1637-1647 Italy. Considered one of the most original and innovative Italian artists of the Baroque period, Giovanni Benedetto Castiglione literally separated light from darkness, creating form out of chaos in this work, his earliest known monotype. In a perfect match of medium and message, Castiglione, the Genoese artist credited with inventing the technique, used this new method to portray the central act of Genesis the creation of man. He produced this electrifying image by subtracting the design from the inked surface of a copperplate with a blunt instrument, such as a stick or paintbrush handle, and then printing directly on a sheet of paper. Broad, angular strokes of white depict God emerging from a cloud, while thin, fluid lines extract the languid body of Adam from velvety blackness. Castiglioneís monotypes employ both this dark-ground technique, which naturally lends itself to dramatic and mysterious imagery, and the light-ground manner, in which the design

Triumph of Truth, Monogrammist CR (16e eeuw), Hieronymus Wierix, Joanni Medic, 1581

Meeting of Emperor Constantijn and his son Crispe after the sea battle of Gallipoli, Nicolas Henri Tardieu, after Peter Paul Rubens, 1684 - 1749 print Paris paper etching / engraving the Roman emperor Constantine the Great; possible attributes: crown, sceptre, standard (labarum) with chi-rho monogram or cross. (story of) Neptune (Poseidon). water (one of the four elements). earth (one of the four elements). female angels

Ferdinand with Ferdinand, King of Bohemia and Hungary on horseback in the victory at Nördlingen; Entry of Ferdinand in Ghent in 1635 (no. 10), Pieter de Jode (II), After Cornelis Schut (I), After Peter Paul Rubens, 1675 - 1685 print Double portrait of Ferdinand with Ferdinand, King of Bohemen and Hungary on horseback in the victory at Nördlingen on September 6, 1634, on the ground enemies defeated. Presentation at the bottom left of the front of the triumph gate Arcus Fernandi on the Vrijdagmarkt. Page no. 10 In a whole of 42 plates that illustrate the publication of the description of the entry of the Cardinal Infant Ferdinand of Austria in Ghent on January 28, 1635 as the new governor for the Spanish Netherlands. Southern Netherlands paper engraving triumphal arch Ghent. Friday market

Print, The Angel Appearing to the Shepherds; Rembrandt Harmensz van Rijn (Dutch, 1606-1669); Netherlands; etching on laid paper; 26.3 x 22 cm (10 3/8 x 8 11/16 in.); Bequest of George Campbell Cooper; 1896-3-150

Anger and despair attract amor towards the grave; Title page for: A. Pels, Didos Doot, 1668; Illustrations at the torment game "Didos Doot". The despair pulls Amor with a dagger in her breast to an open grave. The dagger armed anger has appeared at the grave and holds a burning torch. There is a two-legged caption in Dutch in the margin. This illustration is made at the torment game "Didos Doot" (1668), written by Andries Pels. The print is part of a four-part series with scenes from this torrent game.

This engraving by Stefano della Bella is titled Death as a Strangler. Stefano della Bella(17 May 1610 - 12 July 1664) was anItaliandraughtsman andprintmakerknown foretchingsof a great variety of subjects, including military and court scenes, landscapes, and lively genre scenes.

Nemesis (The Great Fortune) 1501-2 Albrecht Dürer German. Nemesis (The Great Fortune) 359998

Henry VI, Part II: Act I, Scene iv, Mother Jourdaine, Himi---, Charles Gauthier Playter, died 1809, And Robert Thew, 1758-1802, British, after John Opie, 1761-1807, British, 1803, Engraving, Sheet: 17 3/8 x 23 3/16in. (44.1 x 58.9cm)

Meekness rules the world, Jakob Frey (I), After Carlo Maratta, 1719 print With caption in Latin. print maker: Romeafter drawing by: Romeafter painting by: Palazzo Altieri paper etching / engraving Indulgence, Clemency; 'Clemenza', 'Clemenza & Moderatione', 'Indulgenza' (Ripa). angels. (story of) Minerva (Pallas, Athena). (story of) Ceres (Demeter). key

Rome, Lanfranco, Giovanni, Italy, Cesio, Carlo, Assumption of Mary, Saint Peter with other saints and angels, verso - stamped, Saint Peter (recognizable by the putti with two large keys) together with another saint on clouds. They are surrounded by angels, two of whom are blowing trumpets., print, prints, height 555 mm, width 287 mm, Italian, 1622 - 1682, print maker, printmaker, 1636 - 1686, paper, etching, intermediary draftsman, after a drawing by, 1582-01-26 - 1647-11-30

A drawing by Giovanni Odazzi showing Saint Augustine with the Trinity above, and two heretics falling below pushed by an angel putto with a bishops staff, executed in gray brush on greenish-primed paper, squared with chalk.

Philipp Joseph Tassaert drawing depicting Pauli's conversion, executed with black chalk, reddish watercolor, white highlights, and brown brush and feather, 1763.

Explosion of gunpowder through a lightning strike in the castle on the island of Guernsay, 1673, Jan Luyken, 1698 print print maker: Amsterdampublisher: Leiden paper etching / letterpress printing gunpowder disaster. accidents with lightning Guernsey

Cornelis Schut depicts the conversion of Paul using graphite pencil with light brown and gray-brown lavated tones, including lettering, showing figures, gestures, and drapery.

Four putti as a personnifications of arts and sciences.

Apollo appears on the Muzen, Simon Fokke, 1722 - 1784 print The radiant appearance of Apollo with Lier floats in the air. He is received with open arms by the nine muses. Amsterdam paper etching (story of) Apollo (Phoebus). Apollo and the Muses, Apollo Musagetes

Lazio Roma Rome S. Cecilia in Trastevere2. Hutzel, Max 1960-1990 Medieval: Architectural sculpture, architectural fragments, sculptural fragments, sculpture, mosaics, floor tiling. Post-medieval: Painting, frescoes, architectural sculpture, sculpture, architecture, stucco, marble, gilding Antiquities: Mosaics, architectural fragments Object Notes: Built over an already existing church of the 5th century by Pope S. Pasquale I in the 9th century. Suffered damaged and plundering; rebuilt in 1110. Completely redone in 15th century, 17th century and 18th century. Styles from 10th-present century are existent here. 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, Renai

Abraham van Diepenbeeck shows Elias dropping fire on Ahasja's captain, executed in graphite pencil, brown ink, black chalk, and gray washes with deck white highlights.

Depiction of Christ on the Mount of Olives by Leonaert Bramer, executed in gray brush with white cover on blue paper, showing discoloration and minor abrasions.

Jupiter and Callisto. Dated: 1765. Dimensions: image: 13.2 x 8.9 cm (5 3/16 x 3 1/2 in.). Medium: graphite on vellum. Museum: National Gallery of Art, Washington DC. Author: CHARLES EISEN.

Fontein puts Fama, Louis de Châtillon, After Charles Le Brun, 1672 - 1686 print A fountain with fama blowing bluntly on a trumpet sitting on the winged horse Pegasus. Paris paper etching ornamental fountain. Fama as Roman personification Versailles

Night visits a sleeping woman, Bernard Picart, 1721 print The personification night, a winged woman with a star above the head, visits a sleeping woman. Three putti at the bed. Amsterdam paper etching / engraving Personification of the Night, 'Nox'; 'Night', 'Carro della Notte', 'Serenit of the night' (Ripa). Sleeping in Bed

Photography of a document. Daedal and Icarus by the MULINARIS engraver of an oil from Guilio Romano (Italian school). Document. Daedal and Icarus by the MULINARIS engraver of an oil from Guilio Romano (Italian school). Anonymous photography. Draw on albuminum paper.

Chiron instruction Achilles in archery, Charles Clement Bervic, After Regnault, 1766 - 1822 print Paris paper engraving / etching the education of Achilles by Chiron

Ludwig Büsinck after Georges Lallemand, Judith and Holofernes Judith and Holofernes

"Clair-obscur woodcut by Ugo da Carpi around 1524-1525 depicting the apostles Peter and John, showing figures, gestures, and detailed three-plate composition."

The Annunciation, last third 1600s. Johann Jakob von Sandrart (German, 1655-1698). Black and red chalk with white gouache, framing lines in black chalk and black ink; sheet: 19.5 x 17.7 cm (7 11/16 x 6 15/16 in.); secondary support: 19.5 x 17.7 cm (7 11/16 x 6 15/16 in.); tertiary support: 19.5 x 17.7 cm (7 11/16 x 6 15/16 in.).

Chalk and brush drawing by Bernhard Rode depicting Charon guiding two men into his barge, showing figures, movement, gestures, and river setting on yellowish paper.

Fontein puts Apollo in Daphne, Louis de Châtillon, After Charles Le Brun, 1672 - 1686 print A fountain with the moment that Apollo attacked Daphne and she turned into a laurel tree. On the left is a river god. Paris paper etching ornamental fountain. Daphne changed into a laurel-tree: while fleeing from Apollo, Daphne is changed into a laurel-tree by her father Peneus (Ovid, Metamorphoses I 548) Versailles

Sir James Thornhill, 1675-1734, British, A Design for a Ceiling, undated. Pen and brown ink, brown wash and graphite on medium, slightly textured, beige laid paper mounted on thick wove paper..

Departure of the Engel Rafaël, Anonymous, After Chrispijn van den Broeck, 1601 - 1652 print The Engel Rafaël is familiar with Tobit, Anna and Tobias. They kneel on the floor. Around the show an edge script in Dutch and in Latin. print maker: Netherlandspublisher: Amsterdam paper engraving the angel makes himself known; Tobias and his family lie down

Barbarigo, Giovanni Francesco, Audenaerd, Robert van, Rome, Numismata virorum illustrium ex Barbadica gente, Portrait of Filippo Barbarigo and the personification of War or Military Victory, verso - stamped, Pedestal in the form of a cartouche. On it a medallion with on the front a portrait of Filippo Barbarigo, in armor. On the back a military commander, sitting on a stool, pays his men. With the text: Munificentia. Above the pedestal the personification of War or Military Victory. The armored woman holds a laurel wreath and oak wreath in her hands. Next to her lie the captured jewels, coins and vases. The print is part of an album., print, album sheet, prints, height 221 mm, width 238 mm, 1663 - 1743, print maker, printmaker, 1673 - 1743, paper, engraving, engraving (printing process), Work conception, after own design by, Italian, 1658-04-29 - 1730-01-27, client

Anonymous / 'Resurrection of Christ'. First third of the XVIII century. Grey-brown wash, Pencil, Red chalk on dark yellow paper. Museum: Museo del Prado, Madrid, España.

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