Religious Themes and Allegories

Engravings illustrating religious narratives with figures, divine beings, and allegorical representations. Rich detail and composition convey spiritual themes.

Italy, Cignani, Carlo, San., Antonio de, Christ Appearing to a Cleric, verso - stamped, The dead Christ appears to a cleric. Christ is floating in the air and is surrounded by cherubim. The cleric is lying on the ground and is supported by an angel., print, prints, height 520 mm, width 305 mm, Italian, print maker, printmaker, 1600 - 1699, paper, papier, engraving, engraving (printing process), intermediary draughtsman, after a drawing by, 1628-05-15 - 1719-09-06

Virgin Helps Louis XIII to Expel the Vices. Artist: Grégoire Huret (French, Lyon 1606-1670 Paris). Dimensions: Sheet: 13 1/2 × 9 1/16 in. (34.3 × 23 cm). Date: 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Anonymous / 'The Virgin and Child with Saints'. First half of the XVIII century. Grey wash, Pencil, Grey-brown ink on dark yellow paper. Museum: Museo del Prado, Madrid, España.

Virtue by love protected against ignorance, misunderstanding and wrong conviction, anonymous, after Jacopo Ligozzi, 1575 - 1600 print A female personification of virtue (virtu) is protected by love (Amor) against ignorance (ignorantia), misunderstanding (Errore) and wrong conviction (opinion). On the left a winged old woman, on the right a young man and under a woman with donkey ears. Latin text in three columns in sub -margin. print maker: Italyprint maker: Italyafter painting by: Florence paper engraving (Story of) Cupid, Amor (Eros). Virtuousness; 'Love of virtue', 'virtuous action', 'Safe driving of' real honors', 'virtue', 'insurmountable virtue' (Ripa). Opinion. Ignorance; 'Ignorance', 'ignorance of all things', 'ignorance in a rich without letters' (Ripa). Error; 'Error' (Ripa)

The Adoration of the Shepherds ca. 1500-1550 School of Marcantonio Raimondi Italian. The Adoration of the Shepherds. School of Marcantonio Raimondi (Italian, Argini () ca. 1480-before 1534 Bologna ()). ca. 1500-1550. Engraving. Prints

Italy, Cignani, Carlo, San., Antonio de, Christ Appearing to a Cleric, verso - stamped, The dead Christ appears to a cleric. Christ is floating in the air and is surrounded by cherubim. The cleric is lying on the ground and is supported by an angel., print, prints, height 520 mm, width 305 mm, Italian, print maker, printmaker, 1600 - 1699, paper, papier, engraving, engraving (printing process), intermediary draughtsman, after a drawing by, 1628-05-15 - 1719-09-06

France, Louis XIV (King of France), Paris, Duchange, Gaspard, Nattier, Jean-Marc, Rubens, Peter Paul, Massé, Jean Baptiste, Marie de Medicis sous la forme de Minerve Déesse des Arts, Maria de Médicis as Minerva, Allegorical portrait of the French queen Maria de Médicis as Minerva. Standing between weapons and pieces of armor, in the left hand a statue of Victoria. Two angels crown her with a laurel wreath. In frame between curtains, at the top the coat of arms with the French lilies., print, prints, Frederik Muller Historieplaten, height 506 mm, width 354 mm, 1687-12-29 - 1767-09-26, print maker, printmaker, 1708 - 1708, first quarter 18th century, paper, etching, etchings, engraving, engraving (printing process), stipple work, South Netherlands, 1577-06-28 - 1640-05-30, after, after painting by, French, 1685-03-17 - 1766-11-07, intermediary draughtsman, after drawing by, Publication (Event), Publication, 1662-04 - 1757-01-06, publisher, uitgever, Frans, 1638-09-05 - 1715-09-01, grante

The Adoration of the Shepherds. Artist: School of Marcantonio Raimondi (Italian, Argini () ca. 1480-before 1534 Bologna ()); Designed by Raphael (Raffaello Sanzio or Santi) (Italian, Urbino 1483-1520 Rome); or Giulio Romano (Italian, Rome 1499-1546 Mantua). Dimensions: Sheet: 11 7/16 × 8 1/4 in. (29 × 21 cm). Date: ca. 1500-1550. Museum: Metropolitan Museum of Art, New York, USA.

Winter, Caspar Luyken, 1698 - 1708

Saint Philip Neri. Etching by P. Testa.

H. Sebastiaan, Cornelis Schut (I), 1618 - 1655 print The dying Sebastiaan lies with a body pierced by arrows. He is supported by the Holy Irene and some angels. Two putti lift his hand. In the background the Roman soldiers who are responsible for his death. paper etching the martyr Sebastian; possible attributes: arrow(s), bow, tree-trunk

Illustration from Theseus by W.G. Becker, from the Leipzig Calendar for the year 1795 Chodowiecki, Daniel Nikolaus (1726 1801)

Sebastiano Conca / 'Bacchus and Ariadne'. Ca. 1715. Grey-brown wash, White lead, Pencil on papel verjurado, verdoso. Museum: Museo del Prado, Madrid, España.

Northern Netherlands, Wandelaar, Jan, Transfiguration, verso lower left - stamped, Christ appears in the midst of Moses (left) and Elijah (right) to his disciples Peter, James the Greater and John, who are kneeling on the ground. Top right: page: 71., print, book illustration, prints, height 148 mm, width 87 mm, 1690-04-14 - 1759-03-26, print maker, printmaker, 1725 - 1725, paper, etching, etchings, engraving, engraving (printing process), Work conception, after own design by

Truth writes history; Title page for: François-Thomas-Marie de Bacular d'Arnaud, Nouvelles Historiaques, 1774. The naked truth with sun above the head writes in an open book. She is assisted and decorated with a garland by a woman sitting on clouds. With her book, Truth leans time with sheis and hourglass.

Allegorie with the Amsterdam city virgin, Reinier Vinkeles (I), After Cornelis Ploos van Amstel, 1751 - 1816 print The Amsterdam -crowned Stedensmaag is on a throne surrounded with allegorical figures. Next to her is a female figure with the all -seeing eye on a staff, behind the throne is caution with mirror and snake. On the left in the foreground historiography with a writing spring and a history book in her hands. In the background the town hall on Dam Square and statues of two river gods, the Amstel and the IJ. Amsterdam paper etching the all-seeing eye, triangle with eye ~ symbol of God the Father. Prudence, 'Prudentia'; 'Prudenza' (Ripa) ~ one of the Four Cardinal Virtues. personification of a city, town-patron(ess). 'Historia'; 'Historia' (Ripa) Town hall. Amsterdam

Christ and the Virgin with Patron Saints of Pistoia, Giacinto Gimignani, Italian, 1606 - 1681, Brush and gray wash, pen and brown ink, black chalk, white gouache on cream paper., Attributed to Gimignani by Nicolas Turner and Ursula Pace. According to the latter, preparatory for now destroyed picture formerly in the Cathedral of Pistonia. Saints may be Lucy, Magdalene, St, James, Ursula, Hatto, and Sabastian., Italy, 1638, figures, Drawing, Drawing

Anonymous / 'The Agony in the Garden'. XVII century. Grey wash, Black chalk, Pencil, Grey-brown ink on dark yellow paper. Museum: Museo del Prado, Madrid, España.

Twee Sobyllen en engel en putto, Giovanni Antonio da Brescia (ACTRUTED TO), After Rafaël, 1511 - 1520 print Italy paper engraving sibyls. angels. cupids: 'amores', 'amoretti', 'putti'

Italy, Sabatini, Lorenzo, Samacchini, Orazio, Carracci, Agostino, Coronation of the Virgin, verso - stamped, The kneeling Virgin Mary is crowned by God the Father and Christ on clouds. Above the crown hovers the Holy Spirit in the form of a dove. The clouds are carried by putti. Below a landscape. Text in bottom margin., print, prent, prints, prenten, height 450 mm, width 320 mm, Italian, 1557 - 1602-03-22, print maker, printmaker, 1579 - 1581, paper, papier, engraving, engraving (printing process), Work conception, 1532 - 1577-06-12, after a design by, 1530 - 1576-08-02

Martyrdom of St. Lawrence 1571 Cornelis Cort Netherlandish One of the most famed printmakers of his day, Cornelis Cort was admired for his ability to translate tonal qualities into a black and white engraving. Cort accomplished this in part through an important technical innovation: It is the nature of an engraved line, cut as it is with a tool (the burin) whose cutting edge comes to a sharp triangular point, to begin as a point, swell almost imperceptibly at the center, and narrow to a point again at the end. Cort exploited this quality of the burin line; by varying his pressure on the tool as he gouged the plate, he developed a flexible line that becomes thicker and thinner along its length, creating various degrees of darkness without adding additional lines.In the first half of the sixteenth century, Marcantonio Raimondi had successfully translated the firm contours and plastic form of Raphael's mobile figures into engravings through the use of a systematic network of uniform lines

History Louwered by Faam, François Morellon La Cave, After Louis Fabritius Dubourg, 1734 print Allegory in which history, sitting on the clouds, is crowned by fame and an open role is offered by time. The Hague paper engraving 'Historia'; 'Historia' (Ripa). Fame; 'Fama', 'Fama buona', 'Fama chiara' (Ripa). Father Time, man with wings and scythe

Stone chalk drawing by Bartolomeo Altomonte showing a guardian angel protecting a child, with engraved details.

A couple in a temple with the statue of Venus, the goddess of love, is laurelled by a winged figure. Possibly the wedding of Amor and Psyche. Numbered bottom right: 1, and bottom center: No. 115., Husband and wife in front of an altar crowned by love, print maker: Augustinus Terwesten (I), (mentioned on object), publisher: Gerard Valck, (mentioned on object), Amsterdam, 1659 - 1711, paper, etching, h 200 mm × w 166 mm

Tirsenia, changed to a lemon tree, Cornelis Bloemaert (II), After Giovanni Francesco Romanelli, 1620 - 1684 print Tirsenia, mother of Harmonillus, turned into a lemon tree. paper engraving other metamorphoses of female persons (with NAME) into trees. trees: lemon-tree

The Beheading of St Catherine, scene depicts the martyrdom of St Catherine kneeling in prayer while an executioner strikes a blow. The broken wheel can be seen in the background, a typical attribute of her legend, authentic reproduction of a work of art, painting, drawing by Hans Holbein the Elder (born 1465 in Augsburg, died 1524 in Basel or Isenheim), German painter of the Renaissance, historical

Agony in the Garden Made 1515 Germany. Etching in black on ivory laid paper . Albrecht Dürer

A drawing by Francesco Vanni showing Maria with the child on two clouds, two angels holding her coat, a crowned angel above, and another beneath, rendered in ink and washed with feather.

Innocentia. Artist: after Maerten de Vos (Netherlandish, Antwerp 1532-1603 Antwerp). Dimensions: Sheet: 11 x 8 1/8 in. (27.9 x 20.6 cm). Date: ca. 1581. Museum: Metropolitan Museum of Art, New York, USA.

Italian 16th Century after Francesco Salviati, The Resurrection, 1546-1550, engraving on laid paper

Rescue from the antique art treasures through the gods. Father time and death bumps the representatives of the antique cultures in a precipice. The gods saved the antique art treasures. Mercury Tilt a Roman image from a pit, Hercules gives a basket with old coins through and Minerva helps a man to receive the basket. In the middle a bust of the personification of the antique, with laurel wreath and book. Test pressure for a title page of a book about the antique art treasures.

Hercules on the crossroads. Hercules will be withdrawn by the personification of vice, while Minerva is trying to retract him as the personification of the virtue. She points to the fame that blows to heaven on her bazuin. Juno is sleeping right. The performance is caught in an oval frame. The corners are decorated with Putti with symbols of the arts and sciences: astronomy (top left), geometry (top right), architecture (bottom left) and arrowmetry (bottom right).

Naked angel with wreaths and crown surrounded by putti, Claude Donat Jardinier, after Annibale Carracci, After Stefano Torelli, 1757 print France paper engraving / etching angels. crown (symbol of sovereignty). garland, wreath

Personificatie van Arbeid en Vlijt omringd door lezende putti; Contes des Fées.The personification of labor and trout, wrapped in a rug printed with ants, holds the all-viewing eye on a stick and is surrounded by reading putti. In the air an angel reveals a naked woman with palm branch, sat under a cloth. Print at the top right labeled: no 1. p. 1.

Triumph of wisdom; Inscius Non Honorabitur. Wisdom is in the form of Minerva with one foot on ignorance, a man with donkey ears. A putto honors her with a laurel wreath. The hands of the man has tied them with a rope. Seven personifications as a variant of the seven liberal arts are around them; Among other astronomy, music, geometry, painting, sculpture and rhetorics. Under the show a four-line, Latin caption in which it is emphasized that illegals are unable to worship the arts.

Hercules on the TweeProng, Johannes Wierix, after Joannes Martinus Stella, 1559 - Before 1585 print Hercules is withdrawn by the personification of vice, while Minerva tries to withdraw him as the personification of virtue. She points to the fame that blows in the sky on her trumpet. Juno is sleeping on the right. The show is caught in an oval accompaniment. The corners are decorated with putti with symbols of the arts and sciences: astronomy (top left), geometry (top right), architecture (bottom left) and aritmetry (bottom right). Antwerp paper engraving Hercules at the cross-roads, 'Herkules am Scheidewege': the choice of Hercules (+ variant). specific aspects, allegorical aspects of Minerva; Minerva as patroness (+ variant). figure representing a Virtue vs. a Vice. (story of) Juno (Hera). Fame; 'Fama', 'Fama buona', 'Fama chiara' (Ripa). 'Astronomia', 'Cosmografia'; 'Cosmografia' (Ripa). descriptive geometry. 'Architectura', symbolic representations, allegories and emblems ~ archite

Engraved copies of The Little Passion n.d. After Albrecht Dürer German. Engraved copies of The Little Passion 400710

The martyrdom of Saint Angelo who in the upper left is being stabbed watched by horrified onlookers, from the 'Cabinet Crozat' 1729-64 Anne Claude Philippe de Tubières, comte de Caylus French. The martyrdom of Saint Angelo who in the upper left is being stabbed watched by horrified onlookers, from the 'Cabinet Crozat'. 'Cabinet Crozat'. 'Recueil d'estampes d'après les plus beaux tableaux et d'après les plus beaux desseins qui sont en France'. Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692-1765 Paris). 1729-64. Etching and aquatint imitating a chiaroscuro woodcut, printed in brown. Prints

Job plagued by devils. Job on the manure heap, plagued by devils. His wife stands next to him.

The Harrowing of Hell, from The EngravedPassion. Artist: Albrecht Dürer, German, 1471-1528

Hendrick Goltzius (1558-1617); Tizian (1489-1576), Hurds' worship, 1594

SaintDominic. Artist: Giacinto Gimignani, Italian, 1606-1681

French 18th Century after Pierre Hubert Subleyras, The Dream of Saint Joseph, c 1730 The Dream of Saint Joseph

Apollo at right holding a bow chasing Daphne at the left ca. 1538-40 Andrea Schiavone (Andrea Meldola) Italian. Apollo at right holding a bow chasing Daphne at the left 396471

An Angel Bringing Food to a Hermit ca. 1750-56 Jean Honoré Fragonard French In this, his first print, Fragonard demonstrates a ready facility with the etching needle, producing a composition based on a chalk drawing by his master, François Boucher. Using a variety of short and staccato lines, Fragonard evokes the rough textures of the desert, where a saint seated on the rocky ground accepts a gift from an angel. The drawing by Boucher that was his model survives today in the National Gallery of Canada (inv.6888).. An Angel Bringing Food to a Hermit 369288

Amsterdam, Boussière, Hendrik, Philips, Jan Caspar, Title page for: Pieter Burman and Pieter Burman de young person, Poëmatum libri quatuor, 1745, Petri Burmanni poëmata etc., Angel with the portrait of Pieter Burman, verso - stamped, Landscape with an angel, possibly Fama, blowing on a trumpet with a banner hanging from it. In her hand is the portrait of the writer Pieter Burman. In the foreground stands Minerva, as patroness of the arts, who points to the portrait. She is accompanied by a putto who offers the personification of Poetry a burning heart. She points to four putti who are playing with a basket full of flowers., print, engraving, title page, prints, engravings, height 188 mm, width 143 mm, Noord-Nederlands, 1700 - 1775-04-24, print maker, printmaker, 1744 - 1744, paper, papier, engraving (printing process), etching, Work conception, after own design of, Publication (Event), Publication, publisher

unknown, Antwerp, Schut, Cornelis (I), The Robbery of Europa, verso lower left - stamped, Europa sits on the bull Jupiter with her maidservants around her. In the air some putti. In the background Neptune on his chariot., print, prints, height 271 mm, width 368 mm, South Netherlands, 1597-05-13 - 1655-04-29, print maker, printmaker, 1618 - 1655, paper, papier, etching, engraving, engraving (printing process), Work conception, after a design by, granter of privilege

Death of Achilles, J. Alexander Janssens, Victor Honoré Janssens, c. 1700.

This Clair OBSCUR woodcut by Antonio da Trento, created around 1525-1527, depicts Saint Cecilia using two plates, showing detailed figures and composition in a religious scene.

Five figures at a tombstone, Giovanni Benedetto Castiglione, 1645 print Four men at a grave monument. One reads the text on the grave, a second writes it down. A boy, seen on the back, illuminates the whole with a torch. paper etching Grave tomb. Time. Eternity, 'eternity'; 'Eternitã' 'Eternita o perpetuití' (Ripa)

Pandora on the Olympus amidst the gods. Top left, Juno and Jupiter sit side by side. On the lower right are Neptune and Bacchus. The latter holds in his left hand a bunch of grapes and in his right hand a wine bowl., Creation of Pandora, print maker: Cornelis Bloemaert (II), Abraham van Diepenbeeck, Paris, (possibly), 1655, paper, engraving, h 276 mm × w 190 mm

Design for a print, The Annunciation to the Shepherds The Annunciation to the Shepherds, draughtsman: David Vinckboons (I), 1604, paper, pen, brush, h 159 mm × w 122 mm

Four Gospels; Rubens, Peter Paul (1577-1640), Bolswert, Schelte (Ca 1586-1659), Lauwers, Nicolaes (1600-1652); around 1645 (1645-00-00-1655-00-00);

Allegorie sur la mariage du Comte de Provence. Dated: 1771. Medium: etching, reworked with pencil and brown and black ink. Museum: National Gallery of Art, Washington DC. Author: Gabriel Jacques de Saint-Aubin.

Promotional print for Joannes Baptista a Pfeiffersberg (leaves for bottom left), Arnold van Westerhout, After Pietro Locatelli, 1699 print August II van Polen with an angel on the left and a part of an army. In the lower margin an eighteen -line verse in Latin on the occasion of the promotion of Joannes Baptista a Pfeiffersberg. Rome paper engraving king

Arm of the Baken family; 't Wage of Beacas. An angel holds the coat of arms with the right hand and the ribbon confirmed with it with the other man. On the arm three crosses on a diagonal band. Family crest of the Haarlem Regent family beacons.

Aeneas redt zijn vader. Ontwerpen voor schilderijen met episodes uit De Aeneas (series title). Draughtsman: Mattheus Terwesten. Dating: 1600 - 1604. Measurements: h 185 mm × w 149 mm. Museum: Rijksmuseum, Amsterdam.

Vader Tijd onthult Geschiedenis; J. Huebners staat-kundige historie; Titelpagina voor: Johann Hübner, Beknopte vragen uit de staat-kundige historie, 1719.Father time with zeis holds draperies aside and reveals a woman with mirror in this way, possibly history with mirror of truth. An eagle for the woman. Above a putto with the Hose Ourobouros. Links a group of men and a kneeling angel with book. Three chained figures are in the foreground.

The Adoration of the Shepherds, plate three from The Birth and Early Life of Christ. Hendrick Goltzius (Dutch, 1558-1617); text written by Franco Estius. Date: 1594. Dimensions: 464 x 350 mm (image); 476 x 352 mm (plate/sheet). Engraving on paper. Origin: Netherlands. Museum: The Chicago Art Institute, USA.

Apollo playing to the Muses and two Cupids, Francesco Bartolozzi RA, 1728-1815, Italian, active in Britain (1764-99), 1793, Engraving

Grafleging van Christus, Parmigianino, 1503 - 1540 print paper etching / engraving Christ's entombment (possibly by angels)

The Marriage of the Virgin ca. 1525 Giovanni Jacopo Caraglio Italian Early in his career Caraglio seems to have met Parmigianino, an artist who was extremely interested in printmaking himself. The Marriage of the Virgin reproduces a highly finished drawing by Parmigianino that is now in the collection of Chatsworth House in Bakewell, England. Caraglio has followed the model with a staggering level of accuracy. When compared to his earlier engraving of The Virgin and Child with Saint Anne, Flanked by Saint Roch and Saint Sebastian, we see clearly the ways in which Caraglio altered his style of engraving to capture the dynamic character of Parmigianinos draftsmanship.. The Marriage of the Virgin 412491

P.C. La Fettgue delineavit and air falls, j.j. j.J. Van Reenen Hagensis, the tablet is more than one-half of the owner of the owner. Anus. 1759. "Druk R.o.

The martyrdom of Saint Angelo who in the upper left is being stabbed watched by horrified onlookers, from the 'Cabinet Crozat' 1729-64 Anne Claude Philippe de Tubières, comte de Caylus French. The martyrdom of Saint Angelo who in the upper left is being stabbed watched by horrified onlookers, from the 'Cabinet Crozat'. 'Cabinet Crozat'. 'Recueil d'estampes d'après les plus beaux tableaux et d'après les plus beaux desseins qui sont en France'. Anne Claude Philippe de Tubières, comte de Caylus (French, Paris 1692-1765 Paris). 1729-64. Etching and aquatint imitating a chiaroscuro woodcut, printed in brown. Prints

Drawing (Italy)

Polidoro Caldara da Caravaggio drawing depicts a sacred conversation scene, executed with feder and laved techniques, with traces of white increase.

The Story that Stops Time (L'Histoire qui arrête le temps) 1708-54 Charles Nicolas Cochin I. The Story that Stops Time (L'Histoire qui arrête le temps). Charles Nicolas Cochin I (French, Paris 1688-1754 Paris). 1708-54. Etching and engraving. Prints

Three Muses and a Putto with aLyre. Engraver: Giorgio Ghisi, Italian, 1520-1582 After: Francesco Primaticcio, Italian, 1504-1570

Antwerp, Vineyard, Frans van den, Rubens, Peter Paul, Vorsterman, Lucas (II), Apotheosis of James I (King of England), verso lower left - stamped, print, prints, height 305 mm, width 206 mm, Southern Netherlands, 1624-05-27, print maker, printmaker, 1651 - 1679, paper, papier, etching, etchings, engraving, engraving (printing process), 1577-06-28 - 1640-05-30, after, after painting by, Publication (Event), Publication, 1614-07-08 - 1679-03-17, publisher

L'Assomption de la Vierge. Artist: Jean Morin (French, Paris ca. 1605-1650 Paris); After Philippe de Champaigne (French, Brussels 1602-1674 Paris). Dimensions: sheet: 17 1/2 x 14 7/16 in. (44.4 x 36.7 cm)image: 13 7/8 x 13 11/16 in. (35.2 x 34.8 cm). Museum: Metropolitan Museum of Art, New York, USA.

Allegories of France and the truth accompanied by a genius, present a portrait of taxpayers paying their tax in a patriotic fund. (Title)

Judith with the head of Holofernes, 1576 - 1656 drawing Judith comes out of the tent with a sword in one hand and in the other the head of Holofernes. Left arms. On the right her maid kneels with a bag to put in the head. paper. graphite (mineral). chalk pen / brush Judith and her maidservant put Holofernes' head in a sack

Roman soldier greets Roman lady / allegory: A boy clings to an old man, while a woman pulls his robe. Sheet with two prints printed from one freak plate. Left, a Roman soldier with lance, which gives his left hand to a seated Roman lady. Under the seat of the lady is a small nude little boy, in the background there is a young man with a box in his hands. On the right, in a circle, an old and a young man on a hilltop. The young man is caught by a woman at his clothes.

Faith (Fides); Allegory on faith.

François Boucher, Venus appuyee sur son cher Adonis , 1767 Venus appuyee sur son cher Adonis ...

Persian Sibille; Vault from the Sistine Chapel. Part of the vault painting by Michelangelo in the Sistine Chapel with Sibilles, Prophets and Naked Figures (Ignudi). Central is the Persian Sibille.

Illustratie Ontwerp met twee jonge vrouwen en een hond.Illustration design: two young women and a dog, under trees; In the background a group of people at a garden statue. Possible design for a print.

18th-century chalk drawing of an allegorical scene with a female figure on a camel, a putto holding a vessel, a figure with flowers, and an angel with a palm branch, executed with feather and white highlights.

Ecclesiastics in a landscape writing, other in the heavenly realm above Giovanni Cesare Testa Italian. Ecclesiastics in a landscape writing, other in the heavenly realm above. Giovanni Cesare Testa (Italian, ca. 1630-1655). Etching. Prints

Mercury (Hermes) offering a golden apple to Paris. Etching by P. Aquila after Annibale Carracci.

Judit with the head of Holofernes, Anonymous, After Aegidius Sadeler (II), After Hans von Aachen, 1580 - 1679 print Judit puts the head of Holofernes in a bag, which is kept open by her maid. In her right hand the sword. Behind her the beheaded Holofernes in his tent. The print has a Latin caption. paper engraving Judith and her maidservant put Holofernes' head in a sack

Bliżej Kultury Verlag Gerlach & Schenk in Vienna (1882 1901)

Portrait of Jean Baptiste Racine with a muse and Apollo, 1763 print There is a muse with the portrait bust of playwright Jean Baptiste Racine, who receives the Lier from Apollo. Between them capable of mind who points to her head. Faam comes flying in with a laurel wreath. Putti with theater attributes play in the foreground. paper etching / engraving Portrait of a writer. Single Muses. (Story of) Apollo (Phoebus). Hunger; 'Fama', 'Good fame', 'Chiara fame' (Ripa)

The Sudarium Held by One Angel. Artist: Albrecht Dürer (German, Nuremberg 1471-1528 Nuremberg). Dimensions: Sheet: 7 3/16 × 5 3/16 in. (18.3 × 13.2 cm). Date: 1516. Museum: Metropolitan Museum of Art, New York, USA.

Glaucus and Scylla, c. 1661. Salvator Rosa (Italian, 1615-1673). Etching; framed: 52.4 x 39.4 cm (20 5/8 x 15 1/2 in.).

Mars and Venus; Abraham Bloemaert (Dutch, 1564 - 1651); about 1592; Pen and brown ink, brown wash, white heightening over traces of black chalk; 41.1 x 30.2 cm (16 3,16 x 11 7,8 in.)

Mathew, from the cycle: the Four Evangelists. Aldegrever, Heinrich (1502-1555/1561), graphic artist

Red chalk and brown laved drawing on composition paper depicting Jupiter accepting Hercules in Olympus, showing figures, posture, and mythological setting with corners chased up.

The Martyrdom of Saint Sebastian. Dated: c. 1620. Dimensions: plate: 45.8 x 32.8 cm (18 1/16 x 12 15/16 in.) sheet: 48.2 x 35.5 cm (19 x 14 in.). Medium: engraving on laid paper. Museum: National Gallery of Art, Washington DC. Author: Aegidius Sadeler II.

Vicente Salvador Gómez / 'The Immaculate Conception'. 1674. Pencil on yellow paper. Museum: Museo del Prado, Madrid, España.

. At a ruin, Job is on a manure. He is shaped by his wife, who stands next to him. On the left are three of his friends.

Allegory of Minerva as the Head of the Muses. Dated: in or before 1575. Dimensions: overall (approximate): 29.9 x 22.5 cm (11 3/4 x 8 7/8 in.). Medium: pen and brown ink with brown wash over black chalk on laid paper. Museum: National Gallery of Art, Washington DC. Author: Hans Speckaert.

Title print for 'The Tooneel der Vorstelycke Gunstings' by Lambert van den Bos, Romeyn de Hooghe, 1676 print A woman kneels with a man who lies on the ground between buoys and coins. A second man tries to stop the woman. Fighting figures behind them. There is a execution in the background in the background. Amsterdam paper etching handcuffs. fighting. on the scaffold or place of execution

Gabriel Jacques de Saint Aubin, Allegorie sur la mariage du Comte de Provence, 1771 Allegorie sur la mariage du Comte de Provence

Antwerp, Galle, Philips, Southern Netherlands, Cornelis (I), The life of St. Catherine of Siena, Catherine kisses the wounds of Christ, verso - stamped, Catherine kneels before Christ and kisses the wound in his side. Part of a series on Catherine of Siena consisting of a title print, a portrait and 32 numbered scenes from her life., print, prent, prints, prenten, height 150 mm, width 90 mm, 1576 - 1650-03-29, print maker, printmaker, 1603 - 1603, paper, papier, engraving, engraving (printing process), Publication (Event), Publicatie, 1537 - 1612-03-29, publisher

Composition with relief, drawing or painting and two statues of Asklepios and Jupiter, Anonymous, 1700 - 1799 print The figures are numbered from Fig. 1 to Fig. 4. The whole is numbered at the top right: tab. IX. paper etching / engraving sculpture. (story of) Aesculapius (Asclepius). (story of) Jupiter (Zeus)

Allegorical representation with colossus of Rhodes and Atlas, Anonymous, 1700 - 1800 print A woman with a book under the arm and wings at the head points two putti on the colossus of Rhodes in the background. Atlas is wearing the world on the left in the background. At the top right is a putto with a passer at a globe. An angel reveals the scene. At the top left, Fama flies and gods are on clouds. In the lower margin a four -line French text. paper etching Colossus of Rhodes (Wonder of the World). Atlas supporting the heavens on his shoulders. cupids: 'amores', 'amoretti', 'putti'

Virgin and Child with Saint Jerome at left 1822 Francesco Bartolozzi. Virgin and Child with Saint Jerome at left. Francesco Bartolozzi (Italian, Florence 1728-1815 Lisbon). 1822. Engraving. Prints

Venus and Mercury ca. 1600 Jan Muller Netherlandish. Venus and Mercury 370495

Naiades, Tritons and the Bath of Priap 1736 Pierre Alexandre Aveline French. Naiades, Tritons and the Bath of Priap 394063

Design for Holy Water Spouts, from 'Inventions Pour Faire des Plaques', Jean Le Pautre, French, 1618-1682, Etching on paper, Europe, France, ca. 1660, Print, Print

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