Mythological Figures and Love Themes

A collection of etchings and engravings depicting mythological figures like Venus and Cupid in romantic or playful interactions, set amidst classical landscapes with rich details.

Schut, Cornelis (I), Mars, Flora, Venus and Cupid, verso lower left - stamped, print, prints, height 243 mm, width 193 mm, Southern Netherlands, 1597-05-13 - 1655-04-29, print maker, printmaker, 1618 - 1655, paper, papier, etching, etchings, engraving, engraving (printing process), Work conception

Disarming of Cupid Frost, William Edward, 1810-1877. still image. Reproductive prints. 1875. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection. Cupid (Roman deity), Mythology, Nymphs (Greek deities), Sleeping, Female nude in art, Eros (Greek deity), Shakespeare, William, 1564-1616. Sonnets

Adam and Eve, draughtsman: Jacob Folkema, 1723, paper, pen, brush, h 143 mm × w 89 mm

The Daughter of Herodias (Salome Receiving the Head of John the Baptist, Matthew 14:10-11). Artist: After Henry Fuseli (Swiss, Zürich 1741-1825 London). Dimensions: Plate: 13 1/4 × 10 5/8 in. (33.7 × 27 cm)Sheet: 13 9/16 × 10 7/8 in. (34.5 × 27.7 cm). Engraver: Thomas Holloway (British, London 1748-1827 Coltishall, Norfolk). Publisher: Thomas Holloway (British, London 1748-1827 Coltishall, Norfolk). Date: 1798. Museum: Metropolitan Museum of Art, New York, USA.

Susanna and the elders, Nicolaes de Bruyn, 1629 print Susanna at a fountain in the forest. She is spied by two elders when bathing. Rotterdam paper engraving the elders making advances towards Susanna

A pencil work by Gilles Demarteau created between 1742 and 1776 depicting a nude female figure.

Calypso Angelica Kauffmann (Swiss, 1741-1807). Calypso. Watercolor on wove paper, 12 x 9 1/4 in. (30.5 x 23.5 cm). European Art

La Bonne Mere 18th century Nicolas de Launay French. La Bonne Mere 369397

Venus and Adonis. A woman touches a seated man, with bow in his hand, and says something to him. The Venus is probably, who wants to prevent her beloved Adonis to hunt.

The Jumping Doubs (La Saut du Doubs) 1830-1900 Jean Charles Pardinel. The Jumping Doubs (La Saut du Doubs). Jean Charles Pardinel (French, born Issoire, 1808). 1830-1900. Engraving. Prints

Woman binding a pigtail, 1765, by Angelica Kauffmann, John Boydell.

Hagar in the desert, Jurriaan Cootwijck, after Eustache Lesueur, 1759 print Hagar is located on the ground in a mountainous landscape. An angel points her to a water source. On the right is Ismaël, the child of Hagar, hidden under a bush. print maker: Amsterdamafter drawing by: Paris paper an angel appears and reveals a well of water to Hagar

Venus in Cupid, Hendrick Goltzius, After Agostino Carracci, 1588 - 1592 print Round show of Venus and Cupido at a tree. Venus has a bunch of grapes in hand, Cupido gives her a bundle of grain. In the background Ceres in the midst of grain harvesters and Bacchus in the midst of grape pickers. Around the show an empty margin, intended for an edge script. Haarlem paper engraving Venus and Cupid (Cupid not being mere attribute)

Lady Hamilton as a Bacchante, Print made by Charles Knight, 1743-c.1826, British, after George Romney, 1734-1802, British, 1797, Stipple engraving (first state) on moderately thick, moderately textured, cream, wove paper, Sheet: 14 3/4 × 11 7/16 inches (37.5 × 29.1 cm) and Image: 12 7/8 × 10 5/8 inches (32.7 × 27 cm)

Félix Bracquemond, after Gustave Moreau, The Amorous Lion (Le lion amoureux), 1886 The Amorous Lion Le lion amoureux

Allegory of Love. Draughtsman: Jacobus Buys. Dating: 1775. Measurements: h 157 mm × w 131 mm. Museum: Rijksmuseum, Amsterdam.

Dorastus and Fawnia, Print made by John Simon, 1675-1755, French, after Pierre Berchet, 1659-1720, French, undated, Mezzotint on medium, moderately textured, beige, laid paper, Sheet: 10 9/16 × 14 1/16 inches (26.8 × 35.7 cm), Plate: 9 15/16 × 13 1/4 inches (25.2 × 33.7 cm), and Image: 9 9/16 × 13 1/4 inches (24.3 × 33.7 cm)

Charles Clement Bervic after Louis Rolland Trinquesse, Le Serment Le Serment

Design for a painting, Allegory of Faith, draughtsman: Jacobus Buys, 1775, paper, brush, h 157 mm × w 131 mm

Red chalk and brown brush drawing with white highlights by Heinrich Friedrich Füger, circa 1790, depicting Hercules at the crossroads, illustrating the classical mythological moment with human figures.

Three images of seated women, on left a sibyl, in center Justice with her sword, and on right a woman with a peacock, possibly the goddess Juno, Three seated women Paradigmata graphices variorum artificum , print maker: Jan de Bisschop, (mentioned on object), Taddeo Zuccaro, (mentioned on object), Rosso Fiorentino, (mentioned on object), Northern Netherlands, 1668 - 1671, paper, etching, h 137 mm × w 214 mm

Pelerinage a Saint Nicolas n.d. After Jean Honoré Fragonard French. Pelerinage a Saint Nicolas 369391

Cimon and Pero (Caritas Romana). Pero seems to be her father Cimon during his extent.

The death of Orpheus Lévy, Emile, 1826-1890. 1866 - 1885. still image. Art reproductions. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection. Orpheus (Greek mythology), Leopards, Ecstasy, Bacchantes, Mythology, Greek, Hysteria, Sword swallowers, Herms

Liefde (Caritas), Frédérique Émile Auguste O'Connell-Methe, 1850 print The Personified Love, a female figure surrounded by children. paper etching Charity, 'Caritas'; 'Carití' (Ripa) ~ one of the Three Theological Virtues

Print made by Francesco Bartolozzi RA, 1728-1815, Italian, active in Britain (1764-99), Ticket to Westminster Abbey, before 1791. Engraving on medium, moderately textured, cream laid paper.

Group of young people plays a game at a fountain, Nicolas de Larmessin (III), After Nicolas Lancet, c. 1740 print Elegant company plays 'Pied de Boeuf' in a park. publisher: ParisFrance paper etching / engraving simple hand games

Ferdinand Bol, Saint Jerome in the Cave, 1644 Saint Jerome in the Cave

Allegory at war. History writes in her book about the war. Opposite her is Mars, the God of the war. He points to the background where figures run out anxiously.

Barbarigo, Giovanni Francesco, Rome, Audenaerd, Robert van, Numismata virorum illustrium ex Barbadica gente, Personification of the Covenant, verso - stamped, On a console two women embrace each other. They are armed in an equal way. On the spear in their hands sit two birds. Under their feet lies a fox. The print is part of an album., print, album sheet, prints, height 181 mm, width 180 mm, 1663 - 1743, print maker, printmaker, 1673 - 1743, paper, engraving, engraving (printing process), Italian, 1658-04-29 - 1730-01-27, client

Francesco Bartolozzi RA, 1728-1815, Italian, active in Britain (1764-99), Ticket for the Benefit of Mr. Giardini, 1780. Etching and line engraving on medium, slightly textured, cream laid paper.

Mary Elizabeth, Countess Grey, with Her Two Children, Print made by Samuel Cousins, 1801-1887, British, after Sir Thomas Lawrence, 1769-1830, British, 1831, Mezzotint, line engraving, and stipple engraving on thick, slightly textured, cream wove paper, Sheet: 17 1/8 x 13 3/4 inches (43.5 x 35 cm), Plate: 16 5/8 x 12 5/8 inches (42.2 x 32.1 cm), and Image: 12 5/8 x 10 11/16 inches (32 x 27.2 cm), book, bracelet (jewelry), children, column (architectural element), costume, couch, countess, daughters, dresses, girls, gowns, jewelry, landscape, mother, necklaces, nobility, pearls, pendant (jewelry), portrait, roundel (architectural element), sash, sisters, smile, sofa, tondo, trees, woman

Francesco Bartolozzi RA, 1728-1815, Italian, active in Britain (1764-99), Ticket for the Benefit of Mr. Giardini, between 1769 and 1787. Etching and line engraving.

Paris, Orléans, Philippe Duc d', France, Audran, Benoît (I), Daphnis repousse Gnathon, Daphnis pushes Gnathon away, verso - stamped, top right numbered p. 133., print, book illustration, prints, height 97 mm, width 78 mm, 1661 - 1721-10-02, print maker, printmaker, 1718 - 1718, paper, etching, Work conception, French, 1674-08-02 - 1723-12-02, after a design by, after, after a painting by, Publication (Event), Publication, publisher

Johann Maria Monsorno ink and Bister laved drawing showing Hercules standing at the crossroads, mythological scene.

James Sayer, 1748-1823, British, The Charmers of the Age, 1786. Etching and Aquatint.

Pierre Jacques Feillet (Lithographer) (After Rubens, Peter Paul); José de Madrazo y Agudo (Director); Real Establecimiento Litográfico de Madrid (Printer) / 'The Three Graces'. 1832 - 1837. Lithographic aquatint, Crayon lithography, Pen lithography, Printing on japon, Scraper on wove paper; 1832 - 1837. Lithographic aquatint, Crayon lithography, Pen lithography, Printing on japon, Scraper on wove paper. Museum: Museo del Prado, Madrid, España.

An ink and feather drawing by Luigi Sabatelli showing Venus caressing Jupiter, with gestures including stroking his cheek and wrapping his knees.

The Three Graces 1659 Claude Mellan French. The Three Graces 393369

Satyr Attacking Two Nude Bathers. Giovanni Battista Cipriani (Italy, Florence, 1727-1785). Italy, 18th century. Drawings. Pen and gray ink, and watercolor

Duclos, Marie Anne.

HET BAD VAN DIENA, Pierre Alexandre AVELINE, After Jean Antoine WATTEAU, 1712 - 1750 print print maker: Francepublisher: Parispublisher: Paris paper etching Diana bathing. pond, pool - HH - ideal landscapes

Cipriani, A Card for a Ball, Philip Henry Delamotte, 1855 - 1858 Photo production of drawing in 'The Reveley Collection of Drawings at Brynygwin', Fig. 56. paper. photographic support. cardboard albumen print Photo production of drawing in 'The Reveley Collection of Drawings at Brynygwin', Fig. 56. paper. photographic support. cardboard albumen print

Apollo a muzzes on the parnasus, Francesco bartozzi, after ludwig lots of goodnight, 1800 print Apollo plays on his winch in the midst of the nine muses on the Parnassus. print maker: Italypublisher: London paper etching / engraving (story of) Apollo (Phoebus). Apollo and the Muses, Apollo Musagetes

Siren enticing a fisherman with her singing. Scholtz, Julius (1825-1893), draughtsman, cartoonist

Naked woman with her foot in a bath, Etienne Fessard, After François Boucher, 1759 print print maker: Francepublisher: Parispublisher: Parispublisher: Paris paper engraving / etching taking a bath. woman (showing herself) undressed, quasi-nude

Apotheosis of the French royal family. The apotheosis of members of the French royal family on clouds. Central King Louis XVI, on the right Marie Antoinette and the first Dauphin Lodewijk Jozef and Links Elizabeth who receives a crown of stars from an angel. Center left a guardian angel with Dauphin Lodewijk Karel (the later King Louis XVII). Under a snake and a face on the city of Paris.

Photo production of a painting by Titian, representing Danaë and the Golden Rain, Juan Laurent, After Titian, c. 1857 - c. 1880 photograph Part of Reisalbum with photos of sights in Spain and Morocco. Madrid cardboard. paper. photographic support albumen print Jupiter wooing Danae; she is usually lying in bed receiving a shower of gold

Batseba receives the message from David; Missio de Davide Ad Bathsebam. Batseba lets her feet wash in a source while king David spends her from his roof terrace (2 Samuel 11: 2). He sends a messenger with the Batseba command to get the palace.

Playing naked boys, Arnout Rentinck, 1722 - 1774

Essaye un peu de ne pas me mener a tous les jugemens(sic)…. Artist: Paul Gavarni, French, 1804-1866

Couple in embrace, A man and woman in a strong embrace in nature. The print is marked at the top center: XIV, embracing each other, kissing, Christian Friedrich Fritzsch (mentioned on object), 1736 - 1774, paper, etching, h 130 mm × w 88 mm

Smythe, Mary Anne .

Infant Shakespeare Attended by Nature and the Passions. Artist: after George Romney (British, Beckside, Lancashire 1734-1802 Kendal, Cumbria). Dimensions: Sheet: 17 1/8 × 23 1/8 in. (43.5 × 58.7 cm). Engraver: Benjamin Smith (British, active 1786-1833). Published in: London. Publisher: John & Josiah Boydell (British, 1786-1804). Series/Portfolio: Boydell's Shakespeare Gallery. Subject: William Shakespeare (British, Stratford-upon-Avon 1564-1616 Stratford-upon-Avon). Date: 1799.Romney conceived this secular adoration to illuminate Shakespeare's genius. It focuses on the baby poet blessed by cloaked Nature and watched by figures that embody human emotions. Joy and Sorrow act as chief attendants, while Love, Hatred, and Jealousy watch from the left and Anger, Envy, and Fear stand at right--the group a reminder of the mature playwright's astounding range. The engraver created this proof to check his progress, with some areas still undeveloped and the stippling at an early stage. When comp

Prospective soldier shakes hands with a seated man (in box with 43 drawings), Louis Fabritius Dubourg, 1743, paper, ink, pencil, brush, h 99 mm × w 98 mm

Adam and Eva, Pierre François Basan, after Rembrandt van Rijn, 1807 - 1808 The print is part of an album. Paris paper etching The print is part of an album. Paris paper etching

Le reveil. Dated: 1765. Medium: etching and engraving. Museum: National Gallery of Art, Washington DC. Author: Pierre Charles Levesque after François Boucher.

Lady Georgiana Fane, Print made by Charles Turner, 1774-1857, British, after Sir Thomas Lawrence, 1769-1830, British, Published by Colnaghi Son & Co., established 1760, active ca. 1785-1911, Italian, active in Britain, 1828, Mezzotint (first published state III) on medium, slightly textured, cream laid paper, Sheet: 23 1/4 × 15 3/4 inches (59.1 × 40 cm), Plate: 17 1/2 × 12 inches (44.5 × 30.5 cm), Chine collé: 17 1/4 × 11 7/8 inches (43.8 × 30.2 cm), and Image: 13 3/4 × 9 7/8 inches (34.9 × 25.1 cm)

Italy, Tognolli, Giovanni, Canova, Antonio, Bertini, Angelo, Sculptures by Antonio Canova, Naiad, verso - stamped, Sculpture of a reclining Naiad on a lion skin, next to her legs sits a putto with a lyre, by the Italian sculptor Antonio Canova., print, prints, height 419 mm, width 540 mm, 1783 - 1838, print maker, printmaker, 1793 - 1838, paper, papier, engraving, engraving (printing process), Italian, 1757-11-01 - 1822-10-13, after sculpture by, 1786-06-16 - 1862-05-31, intermediary draughtsman

Pendant 18th century Gilles Demarteau French. Pendant. Gilles Demarteau (French, Liège 1722-1776 Paris). 18th century. Crayon-manner etching printed in red and black ink. Prints

Callimachus comes up with the Corinthian Zuilenorde, Lambertus Antonius Claessens, after Jacques Kuyper, 1803 print The Greek poet Callimachus is steering in a garden. According to the caption, he is the creator of the Corinthian column order. Amsterdam paper etching capital (~ column, pillar)

Jupiter a dana, Bernard Picart, 1707 print Jupiter drops down on Danaë in the form of a rain gold coins. She keeps her apron to catch the gold. Her old servant watches. Paris paper etching / engraving Jupiter wooing Danae; she is usually lying in bed receiving a shower of gold

Coming to Cupido, Louis Marin Bonnet, After François Boucher, 1767 print Naked Venus with Cupido sitting on a cloth. France paper Venus and Cupid (Cupid not being mere attribute)

Silen Met Flora en Zephyros, 1775 - 1783 print Numbered: 43. Print is part of an album. paper engraving (story of) Silenus. west wind, 'Favonius', 'Zephirus' (one of eight directions). (story of) Zephyrus (Favonius), the west wind; 'Favonio o Zeffiro' (Ripa). (story of) Flora

Callimachus invents the Corinthian pillar order, Lambertus Antonius Claessens, 1803

Roundel with Saint John on Patmos with Apocalyptic Vision 1520-30 Style of Dirck Vellert Netherlandish. Roundel with Saint John on Patmos with Apocalyptic Vision. Style of Dirck Vellert (Netherlandish, Amsterdam () ca. 1480/85-ca. 1547). South Netherlandish. 1520-30. Colorless glass, vitreous paint and silver stain. Made in Antwerp, South Netherland. Glass-Stained

Campania Caserta Caserta Palazzo Reale46. 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.

Playing naked boys. Draughtsman: Arnout Rentinck. Dating: 1722 - 1774. Measurements: h 229 mm × w 308 mm. Museum: Rijksmuseum, Amsterdam.

La Nimpe Badine. Erotic print. Sitting naked woman with her hand in her cross. A waterfall in the background. Image in oval, below four lines of French text about Philis.

Jupiter and antiope. Jupiter, in the form of a Sater, bends over the sleeping antiope. In addition to Jupiter his eagle. With an explanatory caption in Latin.

Hablot Knight Browne, 1815-1882, British, One of eighteen designs for a series of plates illustrating Venus and Adonis, undated. Graphite, brown chalk, watercolor and gouache on medium, slighlty textured, gray wove paper.

Brush drawing by Crescentius Josephus Johannes Seydelmann partly copying Peter Paul Rubens The Love Garden, using brown ink to depict figures and garden scenery.

Print made by unknown artist, (Bernard), Helene Apollonie Princesse de Ligne, 1795. Mezzotint on moderately thick, slightly textured, cream laid paper.

Der Früchtenkrantz. The fruit wreath.. Rubens, Peter Paul, 1577-1640. Prints. 1837 - 1842. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection. Painting , Germany , Munich, Lithography, German, Infants, Fruit, Garlands

Women's study, one standing backed on the threshold of an entrance, the other sitting on a chair

After Jean Honoré Fragonard, L'hermite (Le diable en enfer) L'hermite (Le diable en enfer)

Himmlische und irdische Liebe, die beiden Frauen werden als Verkörperungen der göttlichen und der irdischen Liebe gedeutet, Stahlstich nach einem Gemälde von Tizian, Historisch, digital restaurierte Reproduktion einer Vorlage aus dem 19. Jahrhundert 1f-4903164

Pen and brush drawing by Kauffmann depicting two women with a young man holding a thyrsos at their feet, on brown tinted paper with black edging, 1770s.

A drawing by François Boucher of a standing female nude, created with black and white chalk and pastel accents between 1730 and 1770.

Print made by John Young, 1755-1825, British, A Sleeping Bacchante, 1789. Mezzotint (etched letter proof) on moderately thick, moderately textured, cream laid paper.

Gualtherus and Griselda; Grisalda. Gualttherus stands for the kneeling Griselda. On the right a house. A landscape in the background.

Venus nursing three Cupids in a landscape 1742 Louis Surugue. Venus nursing three Cupids in a landscape. After Peter Paul Rubens (Flemish, Siegen 1577-1640 Antwerp). 1742. Engraving. Prints

Amoril thinks of Cliander. The Shepherd's Amoril is under a tree to think of Cliander. In hand she has a flower wreath and next to her is a child. To the wrist she wears a band to which a medalia with the portrait of a man. A statement from the image in the margin.

Charles Bargue, The Conversation (La Conversation) from the series The Sylphs (Les Sylphides), c. 1850-55, lithograph on chine appliqué on wove paper.

Thomas Rowlandson, 1756-1827, British, The Actresses Dressing Room at Drury Lane, between 1800 and 1810. Watercolor with pen and red-brown and gray ink, over graphite on medium, moderately textured, blued white, laid paper.

GERMINAL (it)

Le lion amoreux. Medium: etching. Museum: National Gallery of Art, Washington DC. Author: Félix Bracquemond.

Musidora. Artist: Asher Brown Durand, American, 1796-1886

Mutter und Kind, Bl. 10, Vom Tode Zweiter Theil. Klinger, Max (1857-1920), graphic artist

As You Like It. Act II. Scene VII.The Seven Ages of Man. Second Age. From The Boydell Shakespeare Gallery published late 19th century. After a painting by Robert Smirke.

Diana, Goddess of the Hunt, with Satyrs, sleeping Cupid and a Pegasus in a Wooded Landscape, Robert Smirke, 1752-1845, British, and / or Mary Smirke, 1779-1853, British, undated, Watercolor, pen and red ink, gouache, and graphite on medium, moderately textured, beige, laid paper, mounted on, thick, smooth, brown, wove paper, Sheet: 4 3/16 × 6 5/8 inches (10.6 × 16.8 cm) and Mount: 10 × 14 3/16 inches (25.4 × 36 cm), arrows, bow, dress, god, goddess, landscape, Pegasus, quiver, religious and mythological subject, river, riverbank, satyrs

Funeral monument with portrait of Swiss theologian Johann Kaspar Lavater Two women in antique robes mourn near a tomb in a landscape According to the poem of praise below the scene, these are the personifications of Humanity right and Religion left In the background is a dome bearing the word: Virtus On the left above the tomb floats a putto representing immortality In his hand is an ouroboros, a snake biting its own tail, as a mythical symbol for eternity, Portrait of Johann Kaspar Lavater on a funerary monument, print maker: Jacob Ernst Marcus, (mentioned on object), print maker: Antoni Zürcher, (mentioned on object), intermediary draughtsman: Derk Anthony van de Wart, (mentioned on object), Amsterdam, 1801, paper, etching, engraving, h 460 mm × w 380 mm

Diana and her Nymphs January 1, 1783 John Baldrey British. Diana and her Nymphs 400445

A drawing by Christian Leberecht Vogel from 1775-80 depicting two nymphs in front of a post office, turned toward the viewer, executed in redtel, brown spring, gray brush, watercolor, over pencil with white brush in places.

Lovers in a Thunderstorm. Dimensions: overall (approximate): 13.9 x 8 cm (5 1/2 x 3 1/8 in.). Medium: pen and black and brown ink with gray wash and white heightening over black chalk on buff laid paper. Museum: National Gallery of Art, Washington DC. Author: Daniel Nikolaus Chodowiecki.

Print made by Thomas Park, ca. 1760-1834, British, Saberna, 1786. Mezzotint on moderately thick, moderately textured, beige laid paper.

Hablot Knight Browne, 1815-1882, British, One of eighteen designs for a series of plates illustrating Venus and Adonis, undated. Graphite, brown chalk, watercolor and graphite on medium, slighlty textured, gray wove paper.

Vicente Camarón y Torra (Lithographer) (After Murillo, Bartolomé Esteban); José de Madrazo y Agudo (Director); Real Establecimiento Litográfico de Madrid (Printer) / 'The Infant Saint John the Baptist'. 1826 - 1829. Lithographic aquatint, Crayon lithography, Pen lithography, Scraper on wove paper. Museum: Museo del Prado, Madrid, España.

Venus deprives Cupido an arrow, Arnout Rentinck, After Carle van Loo, 1722 - 1775 print Amsterdam paper Venus and Cupid (Cupid not being mere attribute). archer's weapons: arrow

Copper engraving by Ranieri Bettazzi depicting Lucretia Romana, created in 1868, illustrating classical Roman history and figure representation.

Friedrich Siegmund August Nachtigall copied Titians Resting Venus, depicting Venus reclining in a landscape, crowned with a wreath of flowers from Amor, using brown brush over pencil traces, late 18th to early 19th century.

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