Renaissance Engravings of Mythology

Copper engravings highlighting mythological themes like the Judgment of Paris and depictions of Venus, characterized by intricate line work and dramatic compositions.

Antwerp, Herreyns, Daniel (I), Orpheus and the Maenads of Ciconia, verso lower right - stamped, Orpheus playing his lyre and surrounded by animals meets the raging maenads of Ciconia in Thrace who will attack and tear him apart, because he has no attention for women after the death of his beloved Eurydice. In the background more worshippers of Bacchus coming out of a temple., print, engraving, prints, engravings, verso lower left - stamped, height 147 mm, width 162 mm, print maker, printmaker, 1600 - 1649, paper, papier, etching, etsen

Copper engraving by Marcantonio Raimondi depicting the judgment of Paris, first condition, created around 1513-1514.

Venus on a Chariot. Artist: Pierre Brebiette (French, Mantes-sur-Seine ca. 1598-1642 Paris). Dimensions: plate: 5 3/4 x 8 3/4 in. (14.6 x 22.2 cm)sheet: 6 1/16 x 8 7/8 in. (15.4 x 22.6 cm). Date: 1640-49. Museum: Metropolitan Museum of Art, New York, USA.

Triumph of Galatea with tritons and Nereïden and Putti. Galatea stands on a shell and is being pulled by dolphins. She is surrounded by Tritons and Nereïden. Three putti point their arrows at Galatea.

Judgment of Paris.

Speculum Romanae Magnificentiae: The Fate of Dirce. Artist: Georges Reverdy (French, active Lyon, 1529-57). Dimensions: sheet: 19 9/16 x 14 3/16 in. (49.7 x 36 cm)mount: 22 1/16 x 16 7/8 in. (56 x 42.8 cm). Series/Portfolio: Speculum Romanae Magnificentiae. Date: 1579.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title 'Speculum Romanae Magnificentiae' first app

Rome, Salamanca, Antonio, Italy, Pinechas kills Zimri and Cozbi, verso - stamped, The Israelite Zimri took the Midianite woman Cozbi to his tent. The high priest Pinechas has followed them to the tent and pierces them both with a spear. A companion of Pinechas holds up the tent cloth., print, prent, prints, prenten, height 293 mm, width 211 mm, print maker, prentmaker, 1488 - 1562, paper, papier, engraving, engraving (printing process), Publication (Event), Publication, Italian, 1478 - 1562, publisher

The triumph of Galatea. Galatea, over the water sailing on a shell drawn by dolphins, surrounded by tritons and Nereïden. Under the show a six-line latin fresh.

Antwerp, Herreyns, Daniel (I), Orpheus and the Maenads of Ciconia, verso lower right - stamped, Orpheus playing his lyre and surrounded by animals meets the raging maenads of Ciconia in Thrace who will attack and tear him apart, because he has no attention for women after the death of his beloved Eurydice. In the background more worshippers of Bacchus coming out of a temple., print, engraving, prints, engravings, verso lower left - stamped, height 147 mm, width 162 mm, print maker, printmaker, 1600 - 1649, paper, papier, etching, etsen

Duke of Mantua with the six main pagan gods. The duke of Mantua is in a harness, next to a tree. He is flanked on either side by three pagan gods (Minerva, Apollo, Neptune, Jupiter, Venus and Hercules). In the foreground an empty coat of arms, two river gods and a seated women's figure on a stack of weapons.

Torture: piercing the body, Antonio Tempesta, 1565 - 1630 print paper etching torture. violent death ~ maltreatment, torture

Fighting Putti, Peter van Lint, 1619 - 1690 print Two fighting putti in the foreground symbolize the battle between virtue and vice. On the right a putto with laurel wreath is ready for the victor, on the left a putto with Caduceus watches. In the background, a putto blows the trumpet, another putto holds a bird in its arms. paper etching Figures Representing to Virtue VS. to deputy. Cupids: 'Amores', 'Amoretti', 'Putti'

The Sacrifice of Iphigenia Made 1553 France. Engraving on paper . Nicolas Beatrizet

Speculum Romanae Magnificentiae: A Putto Presenting Grain to Ceres 16th century Anonymous This print comes from the museums copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title ‘Speculum Romanae Magnificentiae first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one standard, bound set of prints. Inst

Italy, Raphael, Raimondi, Marcantonio, Dente, Marco, The Judgement of Paris, verso - handwritten in brown ink, A gathering of the gods in a landscape. In the foreground Paris makes a choice between Venus, Juno and Minerva. Behind Paris is Mercury. Apollo flies through the air on his solar chariot., print, engraving, prints, engravings, verso - stamped, height 292 mm, width 433 mm, Italian, 1486 - 1527, print maker, printmaker, 1498 - 1532, paper, engraving (printing process), Work conception, 1482 - 1534, after a print by, 1483-04-07 - 1520-04-07

The Rape of Deianira. Dated: late 1670s. Dimensions: overall: 24.7 x 33.8 cm (9 3/4 x 13 5/16 in.). Medium: black chalk with gray wash on laid paper, mounted on album sheet. Museum: National Gallery of Art, Washington DC. Author: Francois Verdier.

Schut, Cornelis (I), The Martyrdom of St. Lawrence, verso lower left - stamped, The deacon Lawrence is roasted over a fire. He half raises himself to turn around. In the foreground servants are busy stoking the fire with bellows and extra fuel. The Roman prefect watches from a chair on a balcony. Around Lawrence a large group of spectators. In the air two angels with a palm branch and a laurel wreath., print, engraving, prints, engravings, This piece is also in the aforementioned The city of Cullen did not want to award the prize either, and he said, recto margin below - handwritten in brown ink, height 388 mm, width 291 mm, South Netherlands, 1597-05-13 - 1655-04-29, print maker, printmaker, 1618 - 1655, paper, papier, etching, etchings

Roof van Cephalus, Carlo Cesio, after Annibale Carracci, 1656 print Cephalus is the Aurora car and tries to withstand Aurora's hugs. Tithon is sleeping in the foreground on the right. In the foreground on the left is a dog. print maker: Romeafter drawing by: Romeafter design by: Italypublisher: RomeVaticaanstad paper etching Aurora carrying off CEPHALUS. CEPHALUS and Aurora

Cupid and Psyche. Romano, Giulio, 1499-1546. 1574. Ghisi, Giorgio, 1520-1582. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Flood (left half), Andrea Andreani (attributed to), After Nicolò Boldrini, After Titian, 1568 - 1629 print Men and women try to bring themselves and others to safety during the flood. On the right a temple and on the water the Ark of Noah. print maker: Italyafter print by: Veniceafter design by: Venice paper the ark is floating on the waters, while life on earth is destroyed ~ story of Noah

Educatie Van Achilles Door Chiron De Centaur, Giovanni Cesare Testa, After Pietro Testa, 1637 - 1691 print Landscape with the young Achilles who is taught by Chiron de Centaur. In the foreground on the right, Achilles is taught in playing the Lier. In the foreground on the left they hunt for Lions. paper etching the education of Achilles by Chiron

The Sacrifice of Iphigenia. Nicolas Beatrizet; French, 1515-after 1565. Date: 1553. Dimensions: 320 × 445 mm. Engraving on paper. Origin: France. Museum: The Chicago Art Institute, USA.

The Four Horsemen of the Apocalypse. Dated: published 1630. Dimensions: sheet: 10.7 x 14.8 cm (4 3/16 x 5 13/16 in.). Medium: woodcut on laid paper. Museum: National Gallery of Art, Washington DC. Author: Christoph Murer.

Cain murdering Abel (plate 2 from The Story of Cain and Abel) 1576 Johann Sadeler I This engraving is part of a set of three plates on the 'The History of Cain and Abel,' which is a chapter in Gerard de Jode's larger biblical series of 396 engravings entitled 'Thesaurus sacrarum historiarum veteris testamenti (...)' that he published in 1585.. Cain murdering Abel (plate 2 from The Story of Cain and Abel) 700566

Title page: Roman Helden, Lucas Van Haelwech, After Hendrick Goltzius, 1602 drawing paper. ink pen Romulus and Remus are washed ashore and suckled by a she-wolf; 'Lupa Romana'. Rome (one of the four world empires). personification of a city, town-patron(ess). Africa represented allegorically; 'Africa' (Ripa). Europe represented allegorically; 'Europa' (Ripa). Asia represented allegorically; 'Asia' (Ripa)

The martyrdom of St. Laurentius, Cornelis Schut (I), 1618 - 1655 print The deacon Laurentius is roasted above a fire. He focuses halfway to turn around. In the foreground, servants are continuing to heat up the fire with a bladder ball and extra fuel. The Roman prefect looks from a chair on a balcony. A large group of spectators around Laurentius. Two angels in the air with a palm branch and a laurel wreath. paper etching martyrdom, suffering, misfortune, death of St. Laurence

Roof from a woman by man and Sater; Battle between the Lapithen and Centaurs. In the middle a woman is robbed by a man and a Sater. On the right several figures around a table. In the foreground a man has pulled his sword, and a man waves a dagger behind the table. Links two horses.

Italy, Testa, Pietro, Affectus exprimit, arcum meretur, Parnaso triumphat, Triumph of painting on Parnassus, verso - stamped, The personification of painting rides on a chariot drawn by two horses. She is crowned with a laurel wreath by the three Graces. Other gods on Parnassus welcome Painting. She rides on her chariot under a rainbow with Iris. Dedication on a banderole lower right., print, prints, height 470 mm, width 716 mm, Italian, 1612 - 1650, print maker, printmaker, 1621 - 1650, paper, papier, etching, etchings

Bacchus and His Attendants. Dated: c. 1506. Dimensions: sheet: 25.7 x 30.6 cm (10 1/8 x 12 1/16 in.). Medium: engraving. Museum: National Gallery of Art, Washington DC. Author: Jacopo Francia.

Diana discovers the pregnancy of Callisto, Jan Saenredam, After Paulus Moreelse, 1606 print On the left is Diana with a few nymphs under a tree. There are arrow -drugs and an arc with them. Next to Diana is a dog at a stream. Diana stretches her arm disapproving in the direction of Callisto, who is crying opposite her. A few nymphs pull her clothes away to reveal her pregnancy. In the background a nymph with two dogs. Under the performance a six -line, Latin text in which the scene is explained. paper engraving Diana with her nymphs discovers the pregnancy of Callisto. pregnancy

Triumph of bacchus, pierre brebierte, 1630 print paper etching bacchanal: Bacchus with his wine-flushed train (thiasos). beasts of prey, predatory animals: leopard. trunked animals: elephant. beasts of prey, predatory animals: lion. hoofed animals: camel. monkeys, apes. goat

Amor en psych, Giorgio Ghisi, after Giulio Romano, 1574 print Amor and Psyche are in a chaise longue in a landscape with their child (Voluptas). A winged figure keeps laurel wreaths above the heads of Amor and Psyche. On the right, Ceres poured water on the hand of Amor. His hand leans on a scale that is worn by Juno. In the background a group of saters who sacrifice a goat for a statue of God. There is a dog in the foreground. print maker: Italyafter design by: Mantua paper engraving Cupid and Psyche as lovers

TriOMf van Bacchus an Ariadne, Anonymous, After Annibale Carracci, 1600 - 1699 print A triumphal parade with Bacchus and Ariadne on triumph cars. The Bacchus car is pulled by lions. Ariadne's car is pulled by goats. At the front, a group of saters, baccians and the drunken Silenus on a donkey. Putti floating in the air. print maker: Italyprint maker: Italyafter design by: Italypublisher: Rome paper etching triumph of Bacchus and Ariadne. satyr(s) (in general). cupids: 'amores', 'amoretti', 'putti'. (story of) Bacchus (Dionysus), Liber

Venus and Adonis. Venus and Adonis in a landscape. Next to Adonis are his hunting dogs. In the foreground on the left a putto with a rabbit. On the background left a putto with a cloth. In the background right, Adonis is devoured by a wild boar.

Mercury and Argus, Anonymous, After Jacques Jordaens, 1652 - 1702 print Mercury is about to cut Argus, who is sleeping on a rock under a tree, heading the head. On the left the cow io. paper etching / engraving (story of) Mercury (Hermes). Mercury beheads Argus

Plate 6: Zephir carrying off Psyche to an enchanted palace, from 'The Fable of Psyche' 1530-60 Master of the Die Italian. Plate 6: Zephir carrying off Psyche to an enchanted palace, from 'The Fable of Psyche' 396197

Adonis, the son of Myrrha and her father Cinyras, is born from the trunk of a tree. In fact, his mother was turned into a myrrh tree during her pregnancy at her own request. The nymphs of the forest assist in the birth. The print has a Latin caption and is part of a series on Adonis' life, Birth of Adonis The Story of Adonis (series title), print maker: Philips Galle, (mentioned on object), Anthonie Blocklandt, (mentioned on object), print maker: Antwerp, Utrecht, c. 1577 - c. 1581, paper, engraving, h 228 mm × w 304 mm

Triomf Van Galatea, Simon Thomassin, after Annibale Carracci, 1665 - 1733 print print maker: Franceafter painting by: Romepublisher: Paris paper engraving triumph of Galatea. cupids: 'amores', 'amoretti', 'putti'. swimming mammals: dolphin. Nereids, daughters of Nereus; sea-nymphs. triton(s)

Rhetoric; Rhetorica; The seven liberal arts. The female personification of rhetorica, in her hands a cloth and the caduceus. She is surrounded by frightened men and women. In the context in the margin a four-line caption, in two columns, in Latin.

Diana Discovering Callisto's Pregnancy 1566 Cornelis Cort Netherlandish. Diana Discovering Callisto's Pregnancy. Cornelis Cort (Netherlandish, Hoorn ca. 1533-1578 Rome). 1566. Engraving. Prints

Utrecht, Blocklandt, Anthonie, Antwerpen, Galle, Philips, The story of Adonis, Venus mourns the death of Adonis, Antwerp, verso bottom center - stamped, Venus and Amor mourn the death of Adonis. Venus holds her beloved in her arms. Adonis' hunting weapons lie on the ground next to him. His hunting dogs sit at his feet. In the background Venus floats through the air in her triumphal chariot. The print has a Latin caption and is part of a series about Adonis' life., print, prints, height 225 mm, width 298 mm, South Netherlands, 1537 - 1612-03-29, print maker, printmaker, 1577 - 1581, paper, papier, engraving, engraving (printing process), Work conception, 1532 - 1583

Mythological representation with a sweetheart. In a landscape is a swimmed woman against a tree. A warrior in harness approaches her, followed by two men with a cornucopia (cornucopia). Left in the foreground A river god and in the air Diana as a moon goddess drawn in a carriage by horses. On the right at a rocky party is a shepherd with his herd.

TRIOMF VAN GALATEA, 1656 print The Zeenmf Galatea rests in the arms of a sea-centaur. They are surrounded by a drama sea beings. Four putti float above. The print originally belonged to Liber 22 of the Atlas of Rome by Michiel Hinloopen (Schijnvoet Book 10). paper etching triumph of Galatea, Polyphemus playing the syrinx. other Nereids (or sea-nymphs). swimming mammals: dolphin. cupids: 'amores', 'amoretti', 'putti'. triton(s)

Second creation day: separation between the waters, Jan Harmensz. Muller, after Hendrick Goltzius, 1589 print The second day of creation: an angel, the four winds on his head, separates the rainwater from the water from the earth. The rainwater is personalized by a woman with a carafe in her hand, from which water flows. In her other hand the rainbow. The water of the earth is personalized by a power god, with a jug from which water flows. Shells on his head. To the Bible text in Gen. 1: 6-8. print maker: Amsterdampublisher: Haarlem paper engraving creation of the firmament and division of the waters above and below it

Putti with Bokkenwagen, Johannes Gronsveld, after Peter Paul Rubens, 1679 - 1728 print Landscape with seven putti in and around a goat wagon with a kneeling goat looking around at the car. A putto has raised a whip above his head and a putto is on his stomach. Amsterdam paper etching / engraving Cupids: 'Amores', 'Amoretti', 'Putti'

Diana Discovering Callisto's Pregnancy. Artist: Cornelis Cort (Netherlandish, Hoorn ca. 1533-1578 Rome); After Titian (Tiziano Vecellio) (Italian, Pieve di Cadore ca. 1485/90-1576 Venice). Date: 1566. Museum: Metropolitan Museum of Art, New York, USA.

Hercules sleept Cerberus de hel uit, Cornelis Cort, after Frans Floris (I), in or after 1563 - before 1595 print Hercules takes care of Cerberus, the three-person dog that monitors the entrance of the Hades. He pulls the chain around Cerberus heads and threatens the dog with his club. paper etching (12) Cerberus captured and carried away by Hercules

Jupiter guessed Europe; Metamorphoses from Ovid. Jupiter, in the form of a bull, seduces Europe to sit on his back. He will kidnap her.

The Bacchanale in La Cuve Andrea mantegna (1431-1506). Bacchanal to the 19 tank. Engraving.

Fight of the gods and giants. Mythological performance, manufactured for a book edition of Paul Scarron theater pieces. The giants are crushed by the lightning bolts that jupiter, sitting on an eagle, throws them from the air on them. In the background, the Olympians gathered on a cloud bank, ready for the counterattack.

Man met slakkenhoofd a flora, anonymous, after Johann Friedrich Greuter, After Guido Reni, after 1633 print In the foreground is a man with a head of a snail. Flora is on the left with her nymphs. A man tries to keep the snail figure away from Flora. paper engraving (story of) Flora. nymphs (in general); 'Ninfe in commune' (Ripa). monsters with animal head. molluscs: snail

The sinful humanity before the flood, Johann Sadeler I, Anonymous, Francois van den Hoeye, 1601-1636

The Massacre of the Innocents. Artist: Marcantonio Raimondi (Italian, Argini () ca. 1480-before 1534 Bologna ()); After Raphael (Raffaello Sanzio or Santi) (Italian, Urbino 1483-1520 Rome). Dimensions: 11 1/16 x 16 15/16 in. (28.1 x 43.0 cm). Date: ca. 1512-13. Museum: Metropolitan Museum of Art, New York, USA.

Allegorical performance with shepherds and shepherdess in a landscape. They make music, dancing, marrying, and editing the country. On the left in the background Pegasus. On the right in the background. Lagging women around a burial monument. In the air two putti with a beehive (a symbol of eloquence) and two putti with a banderole on which the title in Dutch. In the margin the imprint in Dutch.

Nymphs fill the cornucopia; Metamorphoses from Ovid. In the background, Hercules is battle with the Acheloüs river god, who adopted the form of a bull. During this fight, Hercules breaks down one of Acheloüs' horns. In the front, Nymphs fill the hearing with fruits and vegetables.

Bacchanal with Altar, Faun, and Silenus. Dated: 1640. Dimensions: sheet: 26.6 × 39.3 cm (10 1/2 × 15 1/2 in.). Medium: etching on laid paper. Museum: National Gallery of Art, Washington DC. Author: GIOVANNI ANDREA PODESTA.

Sleeping Diana, Jan van Summer (possibly), 1659 - 1740 print Diana is sleeping at a fountain in a landscape. There are two hunting dogs on her feet. paper sleeping; unconsciousness. (story of) Diana (Artemis)

The Judgment of Paris 1555 Giorgio Ghisi Italian. The Judgment of Paris 367465

Drunk Bacchus with Saters. .

Mars en Venus, Carel Allard, Michel Dorigny, after Simon Vouet, in or after 1638 print Amsterdam paper engraving / etching Mars and Venus as lovers

Rich man in hell and Lazarus in heaven near Abraham, Georg Pencz, 1542 - 1543 print paper engraving in hell Dives sees Lazarus in paradise; usually Dives pointing at his tongue

Putti with passion tools at the grave of Christ, Wenceslaus Hollar, after Pieter van Avont, 1644 - 1652 print paper etching Army Christmas'

Rome, Rossi, Giovanni Giacomo de', Italy, Carracci, Annibale, Triumph of Bacchus and Ariadne, verso - stamped, A triumphal procession with Bacchus and Ariadne on triumphal chariots. Bacchus' chariot is drawn by lions. Ariadne's chariot is drawn by goats. In front walks a group of satyrs, bacchantes and the drunken Silenus on a donkey. In the air float putti., print, prints, height 315 mm, width 559 mm, Work conception, Italian, 1560-11-03 - 1609-07-15, after a design by, 1600 - 1699, paper, papier, etching, etchings, print maker, printmaker, Publication (Event), Publication, 1627 - 1691, publisher, uitgever

The Silver Age, Print made by John Simon, 1675-1755, French, after Francois Verdier, 1651-1730, French, undated, Mezzotint on medium, moderately textured, cream, laid paper, Sheet: 11 3/8 × 15 7/16 inches (28.9 × 39.2 cm), Plate: 9 3/4 × 13 3/4 inches (24.8 × 34.9 cm), and Image: 9 1/8 × 13 11/16 inches (23.2 × 34.8 cm)

Parabola du Bon Samaritan N � 2: The good Samaritan treating his wounds with oil and wine (Hollstein 41) Heinrich ALDEGREVER (or ALDEGREVER - 1502-V.1555 / 1561). Parabola of the Good Samaritan N � 2: The good Samaritan treating his wounds with oil and wine (Hollstein 41). Burin, 1554.

Section A: an angel holding a cross at upper left, Adam and Eve below, from The Triumph of Christ 1836 Andrea Andreani Italian Pasted together with 22.73.3-140. Section A: an angel holding a cross at upper left, Adam and Eve below, from The Triumph of Christ. Andrea Andreani (Italian, Mantua 1558/1559-1629). 1836. Lithographic copy of a woodcut. Callisto Ferranti (Italian, active Rome, 1626-47). Prints

Death of the God's man by a lion, Dirck Volckertsz. Coornhert (attributed to), after Maarten van Heemskerck, 1548 - 1554 print On the way back home, the man of God is attacked by a lion (1 Kings 13:24). In the background, the corpse of the man's man is buried by the old prophet. The print has a Dutch caption in rhyme and is part of a four -part series about the disobedient God's man. paper engraving / etching the prophet of Judah rides off with his donkey and on his way is killed by a lion

Specklin, Veit Rudolf, Holbein, Hans (II), God speaks to Job from a storm, In a storm God speaks to Job, he is depicted at the top left with a globe surrounded by clouds. Job is sitting on a tree trunk and while he looks at God he points to his friends who have been saved from their sins. In the margin above the image is the text Iob XXXVIII & XLII Job 38 & 42, print, engraving, book illustration, prints, engravings, height 60 mm, width 85 mm, height 84 mm, width 97 mm, German, 1498 - 1543-11-29, print maker, printmaker, 1538 - 1538, second quarter 16th century, paper, papier, woodcut, French - 1550, block carver

The Drunken Silenus holding a cup aloft into which a Satyr pours wine 1628 Jusepe de Ribera (called Lo Spagnoletto) Spanish. The Drunken Silenus holding a cup aloft into which a Satyr pours wine 650859

Giorgio Ghisi after Giulio Campi, The Rest on the Flight into Egypt, 1578 The Rest on the Flight into Egypt

Mercury (Hermes), Juno () Mars, and a group of figures below (shepherds, musicians) ca. 1640-60 Anonymous, Italian, 17th century. Mercury (Hermes), Juno () Mars, and a group of figures below (shepherds, musicians). Anonymous, Italian, 17th century. ca. 1640-60. Etching. Prints

The Judgment of Paris 1535-55 Jean Mignon French. The Judgment of Paris 336824

Love Conquers All (Omnia vincit Amor), in a struggle with a satyr Amor places his right knee on its thigh, two nude nymphs are seated with interlocking legs at the base of a tree 1599 Agostino Carracci Italian. Love Conquers All (Omnia vincit Amor), in a struggle with a satyr Amor places his right knee on its thigh, two nude nymphs are seated with interlocking legs at the base of a tree 397527

L'Eau Water (A Naiad with a water urn and Tritons). 1613 - 1678. Carpioni, Giulio, 1613-1678. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Rome, Rossi, Giovanni Battista de', Pacifico, Orazio, Italy, Romano, Giulio, Mantuana, Diana, Leto after the birth of Apollo and Diana, verso sheet - stamped, Leto after the birth of her children Apollo and Diana on the island of Delos to which she was banished by Juno., print, prent, prints, height 261 mm, width 387 mm, Italian, 1547 - 1612, print maker, printmaker, 1557 - 1612, paper, papier, engraving, engraving (printing process), Work conception, 1499 - 1546-01-11, after a design by, Publication (Event), Publication, 1580 - 1637, publisher, uitgever, 1601 - 1678

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

Eros en antera, anonymous, Leon davent, after Francesco Primaticcio, 1540 - c. 1600 print paper etching Eros and anteros

Speculum Romanae Magnificentiae: Dance of Fauns and Bacchants. Artist: Anonymous; After Agostino Veneziano (Agostino dei Musi) (Italian, Venice ca. 1490-after 1536 Rome). Dimensions: sheet: 6 7/8 x 11 in. (17.5 x 28 cm)mount: 10 13/16 x 15 9/16 in. (27.5 x 39.5 cm). Publisher: Antonio Salamanca (Salamanca 1478-1562 Rome). Series/Portfolio: Speculum Romanae Magnificentiae. Date: early 16th century.This print comes from the museum's copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album.

Badende Diana en silenus, Andries Lens, after Jacques Jordaens, 1749 - 1822 print Bading Diana with her companion women. On the right is Silenus with bunches of grapes in his hands. Silenus is surrounded by two saters who make music, a third tries to kiss a nymph. Located in the foreground is shot game. In the margin a two -way caption in French. paper etching Diana bathing with her nymphs. (story of) Silenus

Patience triumphs over time, death and envy. On a globe, the female personification of patience (patientia), with shield and palm branch in the hands. She is enveloped (discordia) and a skeleton (death). In addition to her father time, as an old man with goats, sheis and hourglass. In the clouds a putto that puts a helmet with laurel wreath on the patience head. A man is attacked on the right in the background, behind it a burning city. In the margin a four-line caption, in two columns, in Latin.

Thisbe robs herself of life. Thisbe collapses into Pyramus' sword, after they found her beloved disturbing at the fountain. The smeared veil that led to misunderstanding is behind her.

The drunken Silenus, accompanied by nymphs and satyrs 1632 Willem Panneels. The drunken Silenus, accompanied by nymphs and satyrs. Willem Panneels (Flemish, ca. 1600-after 1632). 1632. Etching; second state of two. Frans van den Wyngaerde (Flemish, Antwerp 1614-1679 Antwerp). Prints

Man Playing Two Flutes and Woman on Lionskin published ca. 1599-1622 Anonymous, Italian, 16th century Italian. Man Playing Two Flutes and Woman on Lionskin 371860

Personifications of sculpture and painting. A young man, sculpture personification, sitting on a torso, in his left hand a small figure of a man with an eagle. There are a head and a poor to his feet. Right a young woman, painting personification, sketching. Painter attributes lie with her feet.

Melchior Meier, Apollo and Marsyas, 1581 Apollo and Marsyas

Absyrtus' limbs presented in a wrapped cloth to his father, from: Histoire de Jason et de la conquête de la toison d'or. Artist: René Boyvin (French, Angers ca. 1525-1598 or 1625/6 Angers); After Leonard Thiry (Netherlandish, active Fontainebleau ca. 1536-1550). Dimensions: Plate: 6 5/16 x 9 1/8 in. (16 x 23.2 cm)Sheet: 7 1/2 x 11 7/16 in. (19 x 29 cm). Series/Portfolio: Tale of Jason and the conquest of the Golden Fleece (Histoire de Jason et de la conquête de la toison d'or). Date: 1563.Absyrtus' limbs presented in a wrapped cloth to his father, who stands on the deck of a ship, the composition is surrounded by a rectilinear frame with twisting male figures, fruits of the earth, scrollwork, and animals, from the series 'Tale of Jason and the conquest of the Golden Fleece' (Histoire de Jason et de la conquête de la toison d'or). Museum: Metropolitan Museum of Art, New York, USA.

Two satyrs put sil'sus on a beamed donkey; Mythological performances to old bas-reliefs.

In a landscape, Diana lies asleep by a fountain. At her feet are two hunting dogs., Sleeping Diana, print maker: Jan van Somer, (possibly), print maker: Jan van der Bruggen, (possibly), 1659 - 1740, paper, h 200 mm × w 243 mm

Adam and Eve Lamenting over the Corpse of Abel. Dated: 1604. Dimensions: plate: 27.8 x 19.8 cm (10 15/16 x 7 13/16 in.) sheet: 29.6 x 21.8 cm (11 5/8 x 8 9/16 in.). Medium: engraving on laid paper. Museum: National Gallery of Art, Washington DC. Author: Jan Pietersz Saenredam after Abraham Bloemaert.

Relief with the robbery of Proserpina, François Perrier, 1645 print Relief with the robbery of Proserpina by Pluto. On the right Pluto who carries Proserpina on his car that is pulled by four horses. A standing and a horizontal nymph for the car. On the left is Mercury and is Jupiter next to the Cerberus. Text in Latin in STUDMARGE. Print is part of an album. paper etching piece of sculpture, reproduction of a piece of sculpture. the rape of Proserpina (by Pluto in his chariot); possibly with Diana and Minerva trying to rescue her

Allegory on perception. A glasses wearing artist paints a naked woman in the outdoors. The model is on her knees on the ground and looks at herself in a mirror that is stopped by a putto. Behind the donkey a doctor looking at a urinal and a two men with astrolabium and passer on a globe. On the right in the foreground are different measuring instruments. A corner and the right of the right a eagle. Under the show the Latin translation of: I know from experience that this makes the viewer both angry and pleasure.

Fascinating putti; Playing putti. Putti stuff together on a tree-rich hill. Two winged putti hold a banderole with the names of the manufacturers.

Young man with bust of minerva and dancing saters; Altro Diletto Ch'imparar No Trovo. Allegorical show with a naked young man, leaning on a shield. Links a bust of Minerva with books, a passer and a heavenly globe. On the right dancing Saters and Maaaden and in the background Hermal of priapus.

Bacchanal with putti. A bacchanal with putti. In the middle putti carrying a donkey. At the bottom right a sater that sucks a putto. Bottom left a naked man.

Fifteen Nude Children Dancing, 1535. Heinrich Aldegrever (German, 1502-1555/61). Engraving;

Mauro Oddi (Italian, 1639-1702) after Agostino Carracci (Italian, 1557 - 1602). The Rape of Europa. Etching.

Battle of the Sea Gods, with Envy (Invidia) on the Left, Andrea Mantegna, 1485 - 1488 print Fight between satyrs driving on hippocampuses and old woman as personification of envy standing on the back of dragon. The woman holds a sign with the text invid (envy). Neptunus with a dolphin and trident is on a pedestal. Italy paper engraving dragon (large fabulous serpent, sometimes with wings and legs). bony fishes: hippocampus - FF - fabulous animals (sometimes wrongly called 'grotesques'); 'Mostri' (Ripa). Envy; 'Invidia' (Ripa) ~ personification of one of the Seven Deadly Sins

Jupiter, Neptune and Pluto Offering their Crowns to the Arms of Cardinal Borghese 1640-1645 Italy. Simone Cantarini first designed this print for the frontispiece of a doctoral thesis in 1640. Originally the image included the coat of arms of Cardinal Pier Maria Borghese as well as that of the authorís family. Perhaps the scholar was praying for a successful doctoral defense with the help of this powerful dedicatee. Cantarini depicted Jupiter approaching in an eagle-drawn chariot alongside Neptune and Pluto, who offer their crowns of immortality to Borghese. After his death in 1642, the cardinalís coat of arms was scraped out, but the symbols of his virtue and his vocation remain column (power); scales (justice); vases (temperance); mirror and serpent (prudence); and his cardinalís hat.. Etching on ivory laid paper . Simone Cantarini

Putti with hunting attributes, Anonymous, After Louis Testelin, 1639 - 1706 print A Frisian with putti with hunting attributes such as an eight -horn, a net, shot game and a hunting dog. Amsterdam paper etching Cupids: 'Amores', 'Amoretti', 'Putti'. Hunting According

Jacob Matham (1571-1631) after originalinal Hendrick Goltzius (1558-1617), Dutch school) Three Parcae engraving The St. Hermitage Museum, St Petersburg

The Triumph of Neptune and Thetis. Dated: 1614. Dimensions: sheet: 27.8 x 41.1 cm (10 15/16 x 16 3/16 in.) (trimmed within plate mark). Medium: engraving on laid paper. Museum: National Gallery of Art, Washington DC. Author: after Bartholomaeus Spranger Jacob Matham.

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