Sacred and Mythological Scenes

Etchings and prints depicting religious figures and mythological narratives, featuring dramatic compositions and themes of sacrifice and pastoral life in historical contexts.

LAmour désarmé (1re planche) , Goddesses, Gods, Venus Roman deity, Cupid Roman deity. Henri Fantin-Latour (1836-1904). Lithographs and Other Prints

Della Bella, Stefano (dit Étienne de la Belle) (n.1610-05-18-D.1664-08-22), game of fables. Proserpine. Seventeenth issue of a sequence of 52 pieces. (A. de Vesme 512; Dutuit 116) (main title), 1644. Etch. Petit Palais, Museum of Fine Arts of the City of Paris.

Venus suckles three amors. Venus kneels on the floor and suckers amor. Two other putti, one with wings The other with dragonflies wings are waiting in line to also get the chest.

The Earth, from The FourElements. Artist: Giulio Carpioni, Italian, Venice, 1613-1678

Landscape with Adam and Eva, 1624 - 1690 drawing Draughtsman: Zwolle (Possible) Draughtsman: Zwolledraughtsman: Zwolledraughtsman: Zwolle (Possibly) Draughtsman: Zwolledraughtsman: Netherlandsland paper. ink brush

Minerva shows Ithaka to Odysseus; Odysseus works. When Odysseus awakens at a strange and missed island for him, he meets Minerva. If she launches the fog, Odysseus recognizes his home country. He kisses the ground. Minerva gives him the form of a wanderer so that he will not be recognized. On the left in the background, the rated Odysseus visits the boar heave Eumaios.

Flight into Egypt. Artist: Etched by Stefano della Bella (Italian, Florence 1610-1664 Florence). Dimensions: Plate: 4 3/4 × 4 1/16 in. (12.1 × 10.3 cm)Sheet: 5 1/16 × 4 7/16 in. (12.8 × 11.2 cm). Date: ca. 1641. Museum: Metropolitan Museum of Art, New York, USA.

Reclining Woman with a Child 1890-1899 Italy. Etching in gray-black, with additions in ink, on heavy cream wove paper . Domenico Morelli

Two Children, François Boucher, French, 1703 - 1770, Red chalk on cream laid paper, Two children are seen in a garden setting, with their animalsa dog and two lambsabout them., France, 1775-90, figures, Drawing, Drawing

Cross -decline, Jean Baptiste Pierre Michiels, After Peter Paul Rubens, 1831 - 1890 print paper. etching descent from the cross: Christ is taken down from the cross, usually by Nicodemus and Joseph of Arimathaea who are standing on the ladders (both arms of Christ detached)

Albrecht Altdorfer (German, 1480 or before-1538), Pyramus and Thisbe, c. 1515-1518, engraving

The Virgin and Child with Saint John theBaptist. Woodcutter: Antonio da Trento, Italian, 1508-1550 After: Parmigianino, Italian, 1503-1540

Aurora by Guido Reni. James Anderson (British, 1813 - 1877)

Jupiter, IO and Juno; History of Argus. Jupiter has changed Io, his loved one, in a white cow to hide her for his wife Juno. He sits with a lightning bolt in his arm on a cloud and Juno, who came to him with her peacock, on the white cow next to him. Juno asks the cow as a gift and thus stopped her husband's adultery. The print is part of a four-part series of prints with scenes from the mythological story of Argus.

Lying amor. Amor lying on his stomach. His arrow sleeve and bow lie next to him on the floor.

Jacobs Dream, from The Loggia Paintings. Etcher: Orazio Borgianni, Italian, ca. 1578-1616 After: Raphael, Italian, 1483-1520

Cain kills Abel, Leendert van der Cooghen, 1662, draughtsman: Leendert van der Cooghen, draughtsman: Moses ter Borch, (rejected attribution), 14-Oct-1662, paper, h 233 mm × w 203 mm

Triumphant amor sitting on the world, Bernard Picart (workshop or), After Bernard Picart, 1725 print Amor is on the globe and shows an arrow in Triumph, as a sign that love overcomes everything. Several secular attributes around the globe, such as crowns, lances, attributes of the various arts and the three -headed hellhound Cerberus. Amsterdam paper etching / engraving Love conquers all 'love the complainant love triumphant

La Mort et le bûcheron (1st plate) , Death, Skeletons, Woodcutters, Fuelwood, Alphonse Legros (1837-1911)

Rembrandt van Rijn, The Agony in the Garden, c 1657 The Agony in the Garden

Simone Cantarini (Italian, 1612-1648), Fortune, etching

Sculpture group with allegory on the power of Amsterdam on the east side of the Burgerzaal in the town hall on Dam Square, Hubert Quellinus, after Artus Quellinus (I), 1665 - 1668 print Sculpture group with allegory on the power of Amsterdam on the east side of the Burgerzaal in the town hall on Dam Square in Amsterdam, above the arch to the stairs towards the entrance and exit of the Burgerzaal. In the middle the Amsterdam city virgin flanked by two lions. On her head the Stedenkroon, above it an eagle with the Keizerskroon. On her chest the three Andreas crosses. In her hands a palm branch as a symbol for victory, fame and peace and an olive branch as a symbol for peace. To the left of her Minerva, goddess of wisdom. On the right a female personification of the power, with Hercules' lion skin and a swordy object. Left and right four putti with attributes with a double meaning. On the left a putto with a horn of abundance as a symbol for prosperity and the element earth. To the right

George Knapton, 1698-1778, British, Untitled: Classical scene with statue, 1740.

Sketches of Soldier, Heads, from Roman Relief (recto); Sketches of Male Nudes, from Roman Relief (verso) 1600-1699 Flanders. Black chalk (recto) and black chalk and pen and brown ink (verso) on cream laid paper . Unknown artist

Benjamin West, The Flight into Egypt, c 1800 The Flight into Egypt

published in le Charivari (no du 30 mars 1842): Ancient History, plate 4: The Presentation of Ulysses to Nausica, 30 March 1842. Honoré Daumier (French, 1808-1879), Aubert. Lithograph; sheet: 33.6 x 25.2 cm (13 1/4 x 9 15/16 in.); image: 24.9 x 20.2 cm (9 13/16 x 7 15/16 in.).

Brown lithograph by Rudolf Grossmann from 1918 depicting Caliban II from Shakespeare, showing figure, posture, and scene composition on Japanese paper.

Naked kneeling man seen on his back, J. Ephraimzoon Dresden, 1800 - 1808 print paper etching kneeling figure (+ nude human being)

Allegory on the Marriage of the Dauphin and Marie-Antoinette in 1770 1770 Gabriel de Saint-Aubin French. Allegory on the Marriage of the Dauphin and Marie-Antoinette in 1770 339741

. Tiresias first drinks from the blood of the sacrifice that Odysseus has brought in the underworld. Then the other shadows drink. Odysseus is in the background with a number of men in conversation.

May. 1559. Brun, Franz (German draftsman and engraver, active ca. 1559-1596). Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Nymph with two saters in a landscape, Cornelis Schut (I), 1618 - 1655 print paper etching / engraving satyr(s) pursuing nymph(s)

Ascension n.d. Claude Gillot French. Ascension 369526

W: Kunnst and textbooks for the hitting boys . Amman, Jost (1539 1591), Walther, Johann Georg

Drinking man and wife and putti at Fontein, Nicolas Perelle, 1641 - 1695 print In the middle of numbered: III. paper etching / engraving drinking. cupids: 'amores', 'amoretti', 'putti'. satyr(s) (in general) - infancy, upbringing

March in Venus.

Diana resting with her nymphs Ca 1530-61 Battista Franco Italian. Diana resting with her nymphs 371829

Atalanta and Hippomenes. Atalanta takes part in a running competition with Hippomenes. During the competition he drops three golden balls that he had received from Venus. Atalanta cannot resist the temptation to pick up the balls, making them lose the competition. Leaf 52 Recto from a sketchbook with 63 sheets.

Philactetes Applies the Torch of Hercules to the Funeral Pyre, Felice Giani, Italian, 1758-1823, Pen and brown ink, brush and brown wash on light blue laid paper, Philactetes shown at left in foreground, bow and quiver lie at right. Hercules still living lies upon burning pile., Italy, 1780-1800, figures, Drawing, Drawing

Pastoral. Dated: 1896. Medium: lithograph. Museum: National Gallery of Art, Washington DC. Author: HENRI FANTIN-LATOUR.

Triton in coming, c. 1701 Venus is on a tide line with four dogs at her feet. Behind her, Triton looks around with a bat in his hand. Leaf 43 Recto from a sketchbook with 63 sheets. paper. pencil. watercolor (paint) brush Venus is on a tide line with four dogs at her feet. Behind her, Triton looks around with a bat in his hand. Leaf 43 Recto from a sketchbook with 63 sheets. paper. pencil. watercolor (paint) brush

Kindermoord te Betlehem, Stefano Mulinari, after Nicolas Poussin, after Guido Reni, c. 1751 - c. 1790 print A soldier of Herod with pulled sword steps with his foot on a child lying on the floor in front of him. A desperate mother tries to stop him. print maker: Italyafter painting by: Romeafter drawing by: Italy paper etching the massacre of the innocents

Study for 'Apollo,' Metropolitan Opera, New York, NY, Francis Augustus Lathrop, American, 1849 - 1909, Black pastel crayon, graphite on paper, Sketch of a male figure for a lunette in the Metropolitan Opera., USA, 1893-1894, music, Drawing, Drawing

Study for Eve, picking the apple.

Fountain with Two Tritons Blowing Conch Shells, c. 1736. François Boucher (French, 1703-1770). Black and white chalks with stumping and red chalk on beige laid paper; sheet: 37.7 x 22.2 cm (14 13/16 x 8 3/4 in.); secondary support: 39.6 x 24.2 cm (15 9/16 x 9 1/2 in.).

Illustration for a Book: Saint Luke with a Female Allegorical Figure 1696-1770 Giovanni Battista Tiepolo Italian. Illustration for a Book: Saint Luke with a Female Allegorical Figure 339279

Jupiter and Callisto: Ovid, Metamorphoses, Book 2, Thomas Carwitham, active 1723, British, ca. 1723, Pen and brown ink and brown wash on moderately thick, moderately textured, beige laid paper, Sheet: 4 5/16 x 3 3/4 inches (11 x 9.6 cm), figures, literary theme, man, nude, Ovid's Metamorphoses, pose, religious and mythological subject, trees, woman

Child as a river god. A lying child holds a jug in one hand, from which water flows, and a trident in the other hand.

. Arcadic scene: a woman with a putto with a flower wreath in hand, in a landscape. Design for a painting.

Design for a grave monument with faith, minerva and time. Faith supports the upright dead, Minerva prevents time.

Design for a Frieze with a Grotesque Vase and Festoon with a Ram and Putto. Artist: Anonymous, Italian, 16th to early 17th century. Dimensions: sheet: 2 3/16 x 4 1/4 in. (5.6 x 10.8 cm). Date: 1550-1610. Museum: Metropolitan Museum of Art, New York, USA.

Allegorical representation with Divine Wisdom, Martin Speer, After Francesco Solimena, 1817 print Numbered below: III. paper etching 'Sapientia', Wisdom; 'Sapienza divina' (Ripa) ~ one of the seven gifts of the Holy Ghost. Holy Ghost represented as a dove (in flames). lamb

A Woman Making Water late 18th/early 19th century After Rembrandt (Rembrandt van Rijn) Dutch. A Woman Making Water. After Rembrandt (Rembrandt van Rijn) (Dutch, Leiden 1606-1669 Amsterdam). late 18th/early 19th century. Etching. Prints

A pen and pencil drawing by Martin Johann Schmidt depicting the martyrdom of St. Thekla, showing the saint, execution instruments, and gestures.

Four Drawings of the Myth of Apollo; Decoration of a Wall over a Mantel, Sala di Apollo, Palazzo Cavina, Faenza, Felice Giani, Italian, 1758-1823, Pen and ink, brush and greyish-brown wash over traces of graphite on laid paper, Apollo pursues fleeing Daphne, running toward left where her father, River-god Peneus, lies at foot of rock. Inscribed with graphite above: Apollo Dafne. Center: Apollo supports wounded Hyacinthus, surrounded by landscape. Inscribed in graphite: Apollo e Giacinto. Bottom left: Apollo runs towards dead Python, bow in hand. Setting shows narrow valley with temple of Delphi in rear. Inscribed in graphite: Apollo serpent/ pitone. Bottom right: Apollo as shepherd of King Admetus, seated before rock, blows flute. Mercurius listens from behind rock. Inscribed in graphite: Apollo pastore del re/ admeto. Verso: upper part of mantel shown. Wall panel suggested over mantel, square panels and contained in center, oval painting of standing genius or Apollo, possibly holding

Giovanni Benedetto Castiglione, Noah and the Animals Entering the Ark, c 1630 Noah and the Animals Entering the Ark

Harvest of Grapes, plate two of four from Le Travaux de la Vendange. Joseph-Marie Vien, the Elder; French, 1716-1809. Date: 1750. Dimensions: 160 × 425 mm (image); 170 × 433 (plate). Etching on paper. Origin: France. Museum: The Chicago Art Institute, USA.

Moses receives the Tables of the Law, Nicolas Chaperon, After Rafaël, 1649 print print maker: Franceafter painting by: Vaticaanstadpublisher: Paris paper etching Moses on Mount Sinai with the tables of the law (Exodus 24:9-18, 31:18)

Triomphe de la Mort: La Mort entraînant L'Ivrognerie et la Luxure , Death, Skeletons, Lust, Intoxication, Alphonse Legros (1837-1911)

Two naked men and a bull and a lion lying down, draughtsman: anonymous, Netherlands, 1700 - 1799, paper, pen, h 186 mm × w 135 mm

The Nativity 1530-73 Geoffroy Dumoûtier French. The Nativity 368764

The Discovery of the Tomb of Punchinello, from Scherzi 1735-1740 Italy. Etching printed in black on paper . Giambattista Tiepolo

Della Bella, Stefano (dit Étienne de la Belle) (n.1610-05-18-D.1664-08-22), game of fables. Title. Pluto. Second issue of a sequence of 52 pieces. (A. de Vesme 516; Dutuit 116) (main title), 1644. Etch. Petit Palais, Museum of Fine Arts of the City of Paris.

Project for a Ceiling Fresco: Leda and the Swan. Date/Period: Ca. 1775. Drawing. Brush and wash, pen and brown ink, graphite on paper. Author: Francesco Saverio Mergolo.

H.C. Henneberg (1826-1893); Lorenz Froelich (1820-1908), June. Milits picture, (1847)

Triomphe de la Mort: La Mort balaie les vices , Death, Skeletons, Vices, Alphonse Legros (1837-1911)

Della Bella, Stefano (dit Étienne de la Belle) (n.1610-05-18-D.1664-08-22), game of fables. Jupiter and Sémelé. Forty-first number of a suite of 52 pieces. (A. de Vesme 506; Dutuit 116) (main title), 1644. Etch. Petit Palais, Museum of Fine Arts of the City of Paris.

Copper engraving by Albrecht Altdorfer from around 1520 depicting the young Hercules killing a snake, showing figure and action.

Ceres is told of the Rape of Proserpina, Felice Giani, Italian, 1758-1823, Pen and brown ink, brush and brown wash over traces of graphite on light brown laid paper, Ceres stands at left leaning upon chariot and holding torch in her right hand. She listens to nymph, Arethusa, who reclines upon her. At right edge, parts of two drawings of kneeling figures., Italy, 1812, figures, Drawing, Drawing

Ascending male figure, Jean-Robert Ango, French, active in Rome 1759 -1770, d. 1773, Red chalk on paper, Ascending male figure. Proper left arm extended above head., France, ca. 1759-70, figures, Drawing, Drawing

Ballet des Troyens , Dancers, Berlioz, Hector, 1803-1869. Troyens. Henri Fantin-Latour (1836-1904). Lithographs and Other Prints

Etching and pinion by Rembrandt around 1646 depicting a monk standing in a cornfield, showing figure, landscape, and drapery.

Design for a Silver Vessel with Scenes from the Passion of Christ ca. 1600 Paulus Willemsz. van Vianen Netherlandish This design for an oval dish beautifully illustrates that Paulus van Vianen was not only a goldsmith, but also an excellent designer and draftsman. The dish has a religious theme with four compartments containing scenes from the Passion of Christ. From left to right and top to bottom are depicted: The Capture of Christ; Ecce Homo; The Crucifixion; The Resurrection. Van Vianen has further decorated the dish with angels, cherubs and trophies containing the so-called Arma Christi. Where parts have been left empty on the left side, we can assume Van Vianen intended a repetition of those motifs seen on the right. Unknown is what was to be depicted in the center of the dish.. Design for a Silver Vessel with Scenes from the Passion of Christ 343274

Pen and lead pencil drawing by Daniel Gran from 1754 depicting a sleeping young man, possibly Jakob, showing figure and posture.

God the Father with Angels Holding Symbols of the Passion. Artist: Pietro da Cortona (Pietro Berrettini) (Italian, Cortona 1596-1669 Rome). Dimensions: 18-1/4 x 14-1/4 in. (46.4 x 36.2 cm). Date: 1647-51.Full of light and movement, this monumental study offers an early design for a portion of the dome fresco, painted by Pietro da Cortona between 1647 and 1651, of the church of Santa Maria in Vallicella ('Chiesa Nuova') in Rome. This confident drawing is a preparatory study for the central section of the fresco, though the artist introduced a number of changes to the finished design.The relatively faint articulation of the figures in the upper parts of the drawing corresponds to the greatest intensity of pictorial light in the fresco, which is unified with the real source of light that emanates from the lantern of the dome. The artist must have produced numerous drawings such as this one in order to think through the illusionism of the enormous dome fresco with its magical effects of

Merry Folly, from Disparates, published as plate 12 in Los Proverbios Made 1816-1819 Spain. In his early 70s Goya made a series of enigmatic prints whose titles and imagery have long been the subject of debate. Printed four decades after the artistís death, the Spanish Royal Academy of Fine Arts devised the title Los Proverbios (Proverbs) in an attempt to assign a theme to the group. A handful of early trial proofs were later discovered on which the artist had inscribed Disparate, which roughly translates as folly, nonsense, absurdity, or fantasy.As he aged Goya began to depict elderly people with greater frequency. In this print, three old men with castanets, one slightly aroused with bulging trousers, cavort with three shapely young women.. Etching, burnished aquatint, and drypoint in brown-black on ivory wove paper . Francisco José de Goya y Lucientes

Rider with lance on horseback and a trumpeter; Various figures and scribbles; Diverses figures et cliffs. .

Fountain with Hercules and Antaeus, Anonymous, After Daniël Marot (I), After 1701 - Before 1800 print Front and rear view. Passionate copy to leaf from series Liure de Fontaines published by Daniel Marot. paper etching garden fountain. the giant Antaeus is lifted in the air and crushed to death by Hercules

Plate 15 from the 'Disparates': Clear Folly. Artist: Goya (Francisco de Goya y Lucientes) (Spanish, Fuendetodos 1746-1828 Bordeaux). Dimensions: Plate: 9 5/8 x 13 7/8 in. (24.5 x 35.3 cm)Sheet: 13 1/16 x 18 11/16 in. (33.2 x 47.5 cm). Series/Portfolio: Los Disparates (Los Proverbios). Date: ca. 1816-23 (published 1864).From the posthumous first edition published by the Academia de San Fernando in Madrid in 1864 under the title 'Los Proverbios'. Museum: Metropolitan Museum of Art, New York, USA.

The Submersion of Pharoah's Army in the Red Sea. After Titian (Italian, c. 1488-1576); published by Domenico dalle Greche (Italian, active 1543-1558). Date: 1510-1520. Dimensions: 405 x 553 mm. Woodcut in black on ivory laid paper. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA. Author: TITIAN.

Dream of a good witch (Sueño de buena echizera). Album "Witches and Old Women", Goya, Francisco, de (1746-1828)

Magician pointing out a burning head to two youths, from the Scherzi ca. 1743-50 Giovanni Battista Tiepolo Italian. Magician pointing out a burning head to two youths, from the Scherzi 384183

Luigi Conconi, Intoxication (Ebbrezza) , 1888 Intoxication (Ebbrezza)

. Interior with household goods and two dogs, one of them kills on a bone. Right a staircase.

Saints Francis and Anthony Abbas kneeling in a landscape. Draughtsman: Paolo Farinati (possibly). Dating: 1540 - 1620. Measurements: h 348 mm × w 252 mm. Museum: Rijksmuseum, Amsterdam.

Diana and her nymphs on clouds, Francesco Bartolozzi, After G. Guarana, 1739 - 1780 print Diana and her nymphs floating on clouds. Numbered bottom left: No. 33-3. print maker: Italyafter painting by: Italypublisher: VeniceVenice paper etching / engraving other companions, nymphs of Diana. nymphs (in general); 'Ninfe in commune' (Ripa). (story of) Diana (Artemis)

Neptune and Prometheus ; Neptune on his chariot still image. 1872 - 1887. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection. Neptune (Roman deity), Poseidon (Greek deity), Sea gods, Chariots, Gods

. Allegory with the portrait of Willem IV at the age of 10, 1721. Two provinces of Friesland and Groningen carry the portrait medallion. Right father time and the Dutch virgin. Links Minerva with a portrait of Prince Willem I. in the margin a caption with a fresh in three columns in French.

The Legend of the Briar Rose - The Prince Enters the Briar Wood 1892 After Sir Edward Burne-Jones British Between 1874 and 1884 Burne-Jones painted four large panels inspired by Charles Perraults La Belle au bois dormant (Tale of the Sleeping Beauty). After they were exhibited to great acclaim at Agnews London gallery in 1890, a set of luxurious photogravures was produced at one-third the scale of the originals, using a technique that combines photography and etching. In this introductory scene, the armored hero cuts his way through briars to discover five slumbering knights who failed to break the curse that binds the princess. William Morris, a close friend of the artists and a collaborator in Pre-Raphaelitisms second wave, composed the verse on the paintings frame:The fateful slumber floats and flowsAbout the tangle of the rose.But lo the fated hand and heartTo rend the slumberous curse apart!. The Legend of the Briar Rose - The Prince Enters the Briar Wood. After Sir Edward Bu

Finch, Alfred William, work, Flutist, pencil, drawing, 12 cm x 14.8 cm

Drawing, The Risen Christ; Italy; pen and ink, brush and wash on paper

Drawing, Projects for a statuary group: "Friendship," "Accord"; Jan Claudius de Cock (Flemish, 1667 - 1735); Netherlands; black crayon, pen, ink, brush, gray watercolor on paper.; 20.9 × 32.9 cm (8 1/4 × 12 15/16 in.)

Drawing, Priam in the Tent of Achilles; Designed by Felice Giani (Italian, 1758-1823); Italy; pen and brown ink over traces of graphite on light blue paper; 24.2 x 30.8 cm (9 1/2 x 12 1/8 in.)

Two wizards and shepherd with sheep, Giovanni Battista Tiepolo, in or before c. 1750 print Italy paper etching herding, herdsman, herdswoman, shepherd, shepherdess, cowherd, etc.. sorcerer, magician, wizard, warlock

Feather and ink drawing by Francesco la Marra depicting the martyrdom of St. Laurentius, showing figure, gesture, and narrative composition.

Torture of charlatans and counterfeiters. (Ukaranie Szarlatanów i fałszerzy, Z: The Divine Comedie du Dante ), W: Oeurvre de Flaxmann Collection of its serious compositions by back, with analysis of the divine comedy Dante and notice on Flaxman. Various subjects. Paris 1847 . FERRERI, Vincenzo (Fl. 1845), Flaxman, John (1755 1826), Audot, bookseller editor, Paris rue du Paon 8, school of medicine

Marriage by Love, Daniel Nikolaus Chodowiecki, 1788 print Berlin paper etching betrothal and marriage

Sater with gesels next to a dry bush, Claude Mellan (attributed to), 1608 - 1688 print Numbered at the top right: 22. paper engraving / letterpress printing satyr(s) (in general). shrubs

Della Bella, Stefano (dit Étienne de la Belle) (n.1610-05-18-D.1664-08-22), Saint Jean-Baptiste drawing water from a source. (A. de Vesme 26; Dutuit 164) (main title). Etching. Petit Palais, Museum of Fine Arts of the City of Paris.

Two Male Figures Wrestling Thomas Anshutz American. Two Male Figures Wrestling 10079

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