Symbolic Artistic Expressions

A collection of wood-block prints and oil paintings featuring evocative themes of love, nature, and mortality, depicted with rich color contrasts and intricate details.

L'Ideale Carlos Schwabe (1866-1926 French) Private Collection

L'Ideale Carlos Schwabe (1866-1926 French) Private Collection

Lazio Roma Rome Stimmate di San Francesco23. Hutzel, Max 1960-1990 Baroque church built over an early Roman church; crypt of church still in existence. Views of sculpture, stucco, painting, fresco, gilding. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

The Cup of Death. oil on canvas. Date: 1885 and 1911. Museum: Smithsonian American Art Museum.

Te faruru (Here We Make Love), from the Noa Noa Suite 1893-1894 France. Wood-block print, printed twice in golden-brown and black inks, with selective wiping of the black ink, over a selectively inked yellow tone block, and transferred deep-yellow, red, and orange oil-based media, some containing beeswax and conifer resin (probably pine resin), with hand-applied dark yellow and brown gouache, on cream Japanese paper (previously mounted on mottled blue wove paper laid down on cream wove card a presentation mount) . Paul Gauguin

In Greek mythology, Orpheus was a famed Thracian bard whose lyre music charmed even the wildest of animals and even plants, trees, and rocks. The son of the Muse Calliope, he married the nymph Eurydice after taking part in the Argonaut expedition. According to Greek mythology, after a snake killed her, Orpheus went to Hades (the Underworld) to fetch her. Charmed by his music, the gods freed her, but on the condition that he not look at her until he reached the upper world. As he neared the upper world, he looked back (seen here) and, as a result, she vanished from his grasp back to the Underworld. This painting is by George Frederick Watts (1817-1904), an English Victorian painter and sculptor. He is most associated with the Symbolist movement.

Paolo and Francesca, by Previati Gaetano, 20th Century, 1909, oil on canvas, cm 230 x 260

Saint Michael the Archangel. Engraving by G. Folo after B. Nocchi after G. Reni.

Austria, Vienna, Illustration of Dante Alighieri's Divine Comedy (Heaven, Song VII) by Franz von Bayros, detail

SAN PEDRO. Author: EL GRECO. Location: PRIVATE COLLECTION. MADRID. SPAIN. APOSTLE PETER.

Gustave Moreau (1826-1898). French painter. The Fall of Phaethon, 1878. Louvre Museum. Paris, France.

Dalziels' Bible Gallery - The Days of Creation - The Third Day,1900. After: Sir Edward Burne-Jones (d.1898). Publisher: Berlin Photographic Company. Large orb with a representation of land in it.

The caption for this illustration reads: I shuddered with horror in a few moments had Sharatz the Veela overtaken. The I is Marko, the Serbian hero, and Sharatz is his horse. The figure at right is a Veela. In Slavic and Serbian mythology, the Veela was a supernatural being. They were said to like dancing and to marry mortal men on occasion. The illustration is from a 1921 book on Serbian myths and legends.

Falling Star by Kotarbinsky, Vasilii (Wilhelm) Alexandrovich (1849-1921) Private Collection 1910s Poland Watercolour on paper Graphic arts Mythology, Allegory and Literature

Niké se déliant les sandales , Antiquities, Sculpture, Goddesses, Nike Greek deity. Nicholas Catsimpoolas Collection

Jacob's Ladder. Jacques Stella (France, Lyons, 1596-1657). France, circa 1650. Paintings. Oil on onyx

'Four elements, earth, air, fire, water, and seven planets with their associated humours. Image symbolises natural magic and sympathy of like for like. From ''Magia naturalis', Nuremberg, 1715, by Johannis Baptista della Porta. First edition 1558.'

Woman playing the castanets, 1798-1799, by Antonio Canova (1757-1822), tempera.

Figurehead: "Ceres". Dated: 1935/1942. Dimensions: overall: 59.1 x 34.2 cm (23 1/4 x 13 7/16 in.). Medium: watercolor, graphite, and pen and ink on paper. Museum: National Gallery of Art, Washington DC. Author: Elizabeth Fairchild.

Engraving by Antonio Ricciani of wall painting from Herculaneum depitcing a bacchante , Engravings, Priests, Bacchantes. Nicholas Catsimpoolas Collection

S THADEUS Ap:. Masieski, Jan (fl. ca 1750-1800), graphic artist

The Great Red Dragon and the Beast from the Sea. Dated: c. 1805. Dimensions: Overall: 40.1 x 35.6 cm (15 13/16 x 14 in.) support: 54.8 x 44 cm (21 9/16 x 17 5/16 in.) mat: 71.1 x 55.9 cm (28 x 22 in.). Medium: pen and ink with watercolor over graphite. Museum: National Gallery of Art, Washington DC. Author: William Blake.

Europe, a prophecy, printed in 1794 by William Blake (1757-1827). L.C. copy printed in green, blue or brown on 10 leaves, from engraved plates containing both text and illustrations. Hand-colored. Leaves numbered in manuscript: 1-17

A female figure with a box in her hand shows, possibly Pandora, in Greek mythology a woman created from clay by Hephaistos, including the ominous Pandora's Box, Historical, digitally restored reproduction of a photograph by Giorgio Sommer, coloured

Zephyrus and Psyche,1900. After: Sir Edward Burne-Jones (d.1898). Publisher: Berlin Photographic Company

EL TRIUNFO DE LA VID - 1989 - 100X70 CM - MIXTA/CARTON. Author: MIGUEL JUAN AROCHA ISIDRO-PINTOR SIGLO XX. Location: PRIVATE COLLECTION. MADRID. SPAIN. BACCHUS.

Study sheet with two branches of lilies. Draughtsman: Antoon Derkinderen. Dating: 1869 - 1925. Measurements: h 283 mm × w 180 mm. Museum: Rijksmuseum, Amsterdam.

New South Wales Regatta Plate, 1854. 'This very elegant Plate Prize, has been designed and executed by Messrs. Hunt and Roskell...Surmounting the cover is a group, representing Wisdom instructing a youthful British sailor in the art of navigation. The handles of the Cup are formed of sea-horses; and in the panel on the body is a relievo of a yacht race. The body is decorated and supported with aquatic plants, such as the lotus, bulrush, &C, arising from rocks, over which water is flowing; while around the base is a group of a Triton and Naiad. The Cup is mounted on a black wood pedestal, w

Campania Caserta Caserta Palazzo Reale83. 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.

Report No. 3. Oldrich Kulhanek; Czech, born 1940. Date: 1970. Dimensions: 397 × 247 mm (plate); 552 × 342 mm (sheet). Intaglio on white wove paper. Origin: Czech Republic. Museum: The Chicago Art Institute, Chicago, USA.

Louis XIV (king of France), Paris, Leblond, Jean (II), France, Lepautre, Jean, Trophez à l'Antique, Two trophies of arms à l'antique., At the bottom of the left trophy are three chained prisoners, at the top a medallion with an emperor's bust., print, ornament print, prints, ornament prints, height 324 mm, width 225 mm, French, 1618-06-28 - 1682-02-02, print maker, printmaker, 1680 - 1680, fourth quarter 17th century, paper, etching, etchings, Work conception, after own design by, Publication (Event), Publication, 1635 - 1709, publisher, 1638-09-05 - 1715-09-01, granter of privilege

The battle for Verdun, Johan Braakensiek, 1916 print French Marianne on a cliff fight with the German eagle. Amsterdam paper personifications of countries, nations, states, districts, etc.. battle France

The Death of Adonis, 1800 print Marble relief from Antonio Canova (which is in Possagno), with the representation of Venus that, accompanied by complaining eroten, is committing the dead Adonis. Adonis was killed by the wild boar and is stretched out on the floor. Venus plunges down the air on the dead body of her lover. The show is an almost literal representation of the coronary complaint on the death of Adonis by the ancient Greek poet Bion. According to Bions Elegie, the blood of Adonis produced roses, which were presented here on either side of his body. He is wrapped in sheets. paper etching Adonis' blood changed into an anemone or a rose: when Adonis is slain by a boar, Venus changes his blood into an anemone or a rose (Ovid, Metamorphoses X 735). death of Adonis: he is killed by a boar

. Aurora floats above the earth in the universe. In the background, part of the zodiac can be seen; The Libra, Scorpio and the Sagittarius.

Enamel Panel:Fidelity, James Cromar Watt (Aberdeen, Scotland, 1862 - 1940) c. 1919

Sebald Beham (German, 1500-1550), Madonna on the Half Moon, 1520, engraving

Sindbad the Sailor is of Middle Eastern origin. His tale is, in modern times, often connected with and/or included in The Thousand and One Nights, or the Arabian Nights, but it originally was not part of it. One of the fantastic creatures that Sinbad tells attacked his ship was a giant mythical bird, called the roc. This early 1900s illustration shows a roc with Sindbad hanging on to one of its talons.

USA, Florida, St. Augustine, Flagler College, Hotel Ponce de Leon, dining room mural detail.

Cartoon for the 'Moon' Window in The Scottish National War Memorial, Edinburgh, Douglas Strachan (Aberdeen, Scotland, 1875 - 1950) 1926

The figure pictured here, according to Greek mythology, is Zephyrus was the god of the west wind. Zephyrus was the gentlest of the winds and considered a harbinger of springtime. He was pictured with flowers that indicated a mild light breeze. The Greeks honored eight wind gods. The others are: Lips, or Livos, the god of the southwest wind. Usually he was shown holding a ship's sternpost because when the wind blew form the southwest into Athens' port harbor of Piraeus, ships could not sail. Eurus, or Euros, was the god of the east wind. The folds of his clothes suggested heavy clouds. Apeliotes was the southeast wind, which was associated with good rain. Thus in art he was shown carrying fruit and draped in a cloth that concealed flowers or grain. The other four were Boreas (cold north wind), Kaikias (northeast wind), Notos (south wind), and Skiron (northwest wind).

The Cup of Death, circa 1900 Elihu Vedder

A Putto with a Mask (ceiling decoration). Jean Leon Gerome (1824-1904). Oil on canvas. Signed and inscribed 'A mon ami Badin/J.L. Gerome'. 76.2 x 65.3cm.

The farewell. Norblin de la Gourdaine, Jean Pierre (1745-1830), graphic artist

The Ancient of Days 19th C. William Blake (1757-1827/British) British Museum, London

Abruzzo, L'Aquila, Sulmona, Museo Civico, Italy, 20th century, photo, photography, Europe

Queen of the Night. Moritz von Schwind (Austrian, 1804 - 1871)

Jacques Stella, French (1596-1657), Sibylla Libyca, 1625, woodcut

Night Nott in Norse Mythology is the night personified, a Goddess of darkness, sleep, and dreams.

Design for vignette for catalog of publisher H.J. Poutsma ..

Lightning Struck a Flock of Witches. Date: n.d. Oil on cardboard. Museum: Smithsonian American Art Museum.

Print made by William Blake, 1757-1827, British, Jerusalem, Plate 26, "Such Visions Have....", 1804 to 1820. Relief etching printed in orange with pen and black ink and watercolor on moderately thick, smooth, cream wove paper.

Vigilance, Design for a Stained Glass Window, Francis Augustus Lathrop, American, 1849 - 1909, Brush and watercolor, gouache, graphite on tracing paper, Tall, vertical composition with top arched. Center, man in a helmet holding a spear and shield. He stands facing slightly to the right. Foliage left and right. Stars above, showing Big Dipper constellation. Vigilance written on base below, twice. Border of rosettes., USA, ca. 1890, architecture, Drawing, Drawing

Allegorical figure, by Giorgio Vasari, Tommaso Battista del Verrocchio and Alessandro Forzori, Palazzo dei Cavalieri or Palazzo della Carovana, Piazza dei Cavalieri, Pisa, Tuscany, Italy, 16th century.

Historical photo, Der Morgenstern, Gobert, 1878

Fortune: A Study for "The Discoverer" 1878 William Morris Hunt American. Fortune: A Study for "The Discoverer" 11176

Dantesque Album (Album Dantesco), by Alberto Giacomo Spiridione Martini known as Alberto Martini, 1920-1930, 20th Century, gouache, 24,5 x 17,5 cm

Gustave Doré; The Vision of Death from the New Testament Book of Revelation; Black and White Engraving

The Annunciation. Alessandro Vittoria; Italian, 1525--1608. Date: 1578-1588. Dimensions: 97.8 × 61.6 cm (38 1/2 × 24 1/4 in.). Bronze. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

Temptation, plate four from A Life. Max Klinger (German, 1857-1920); printed by Otto Felsing (German, 19th century). Date: 1884. Dimensions: 473 x 225 mm (image); 514 x 272 mm (plate); 502 x 263 mm (primary support); 788 x 575 mm (secondary support, approx.). Aquatint and etching, with roulette on ivory China paper, laid down on cream laid paper. Origin: Germany. Museum: The Chicago Art Institute, Chicago, USA.

The Parable of the Sower James Tissot (1836-1902 French)

Jason and His Teacher. Maxfield Frederick Parrish (1870-1966). Oil on canvas laid on aluminium. 102 x 81.3cm. Published in Collier's Magazine, July 23, 1910.

Hell (15th c.). Detail. Flemish art. Painting. ITALY. VENETO. Venice. Museo Correr.

Autumn. Cherubino Alberti (Italy, Borgo San Sepulcro, 1553-1615). Italy, 1615. Prints; engravings. Engraving

ARROWHEAD Date: 1905

Calendar plate (October), c. 1568, Pierre Reymond, French (Limoges), French (Limoges), 1513-1584, 3/4 x 8 in. (1.9 x 20.32 cm), Enamel on copper, France, 16th century

The Abduction of Europa. Europa, Greek mythological Phoenician woman. She was abducted by Zeus in the form of a white bull. By Rembrandt Harmenszoon van Rijn (1606 - Q669). Dutch painter and etcher. Dated 1632

Winter 1869-70 Edward Burne-Jones (1833-1898 British) Gouache On Paper Roy Miles Gallery, 29 Bruton St., London W1 *ADDRESS MUST BE INCLUDED IN CREDIT!

1530s GANYMEDE ABDUCTED BY EAGLE OIL ON CANVAS BY ANTONIO CORREGGIO GREEK MYTH OF BEAUTIFUL BOY SERVED AS CUPBEARER TO ZEUS

'Cut her head off, then, if she is a stranger to you,' the djinn suggests ; but the calender (literally, a cloth glazer) nobly refuses to decapitate the princess.

Solomon Eagle denouncing the City of London from the parapet of St. Paul's. Plague of London, 1665. Illustration by John Franklin (active 1800-1861) for William Harrison Ainsworth 'Old Saint Paul's', London 1855 (first published 1841). Engraving

Window with young man with wings with coat of arms in hand, anonymous, c. 1547 Rectangular window in grisaille and silver fellow with a weapon carrier; A young man with wings, who has a coat of arms in his hands. A lamb in the coat of arms. glass. lead (metal).. silver stain Rectangular window in grisaille and silver fellow with a weapon carrier; A young man with wings, who has a coat of arms in his hands. A lamb in the coat of arms. glass. lead (metal).. silver stain

USA, Florida, St. Augustine, Flagler College, Hotel Ponce de Leon, dining room mural detail.

International guest exhibition in Amsterdam, Sept. 14 - Oct 6. 1912 in Palace for Volksvlijt.poster for the International Guest Exhibition in the Palace for Volksvlijt on Frederiksplein, 14 September-6 October 1912.

'Haywain' (detail), ca. 1516, Flemish School, Oil on panel, P02052. Author: JHERONIMUS VAN AKEN-EL BOSCO-J. BOSCH. Location: MUSEO DEL PRADO-PINTURA. MADRID. SPAIN.

Lesson, Antique Skeletons of Amsterdam

A Fragment from The Triumph of Chastity over Love. Unknown maker, South Netherlandish

"Luna in her Car", from "The Winter's Tale", at the Princess' Theatre, 1856. London stage production by Charles Kean. 'The chaste Moon and her attendant stars are here personified, and supposed to be sinking before the car of Phoebus, which is about to arise with all its morning glories....Luna, or rather Selene, according to the Greeks, appears in her chariot sinking into the sea. The stars personified follow her in her descent...The Stars are taken from a painted vase in the Musee Blacas, at Paris; other figures composed from bas-relief representations of the Moon visitin

Illustration to Thumbkinetta by Hans Christian Andersen, Illustration by Elinor Very Boyle, colour lithography.

This illustration dates to 1898 and shows the Three Graces statue by the 19th-century Italian sculptor Antonio Canova in the Vatican Museum. The ancient Greeks and Romans honored them as the goddesses of charm, beauty, and creativity. The Greeks called them the Charites; the Romans called the the Gratiae.

'A breaker happily threw me on an island', c1930. Creator: Unknown.

Allegorical scene - Insurgent's death. Styka, Jan (1858-1925), painter

America. A Prophecy, Plate 12, "Thus Wept the Angel Voice....". Date/Period: 1793. Print. Blue print, pen, black ink and watercolor on cream-colored paper (Relief etching printed in blue with pen and black ink and watercolor on moderately thick, slightly textured, cream wove paper). Height: 235 mm (9.25 in); Width: 171 mm (6.73 in). Author: William Blake.

DANTE ALIGHIERI ESCRITOR ITALIANO. 1265-1231 "PREPARACION PARA LA ORACION FINAL", XILOGRAFIA DE DALI ,PARA ILUSTRAR SU OBRA " LA DIVINA COMEDIA" CANTO XXII ATENCION: AUTOR CONTEMPORANEO SUJETO A COPYRIGHT ©. EL CLIENTE FINAL ES RESPONSABLE DE LA GESTION DE LOS DERECHOS DE AUTOR CON LAS SOCIEDADES EXISTENTES DE GESTION DE DERECHOS O DIRECTAMENTE CON LOS ORGANISMOS TITULARES DE LOS MISMOS. Author: SALVADOR DALI (1904-1989).

La Victoire from Playing Cards (for Quartets) 'Costumes des Peuples Étrangers' 1700-1799 Anonymous, French, 18th century. La Victoire from Playing Cards (for Quartets) 'Costumes des Peuples Étrangers' 415950

Masolino da Panicale, Italian (c. 1383-1435 or after), The Archangel Gabriel, c. 1430, tempera () on panel

Bellerophon Killing the Chimaera

Nemesis by Alfred Rethel, oil on canvas, 1837, 1816-1859, Russia, St. Petersburg, State Hermitage, 95x48

JOSE MARIA RODRIGUEZ ACOSTA/ TEMPTATION ON THE MOUNTAIN-SPANISH SYMBOLISM. Author: Jose Maria Rodriguez Acosta. Location: FUNDACION RODRIGUEZ ACOSTA. GRANADA. SPAIN.

Niccolò dell' Abate, The Rape of Ganymede, c 1545 The Rape of Ganymede

Lamego, Portugal, Shrine of Our Lady of Remedies, azulejo

Corrado Giaquinto / 'The Agony in the Garden', ca. 1754, Italian School, Oil on canvas, 147 cm x 109 cm, P00107. Museum: MUSEO DEL PRADO, MADRID, SPAIN. JESUS.

Workshop of Albrecht Altdorfer, The Rule of Bacchus left panel, c. 1535, oil on hardboard transferred from panel

The Spirit's Flight Currier & Ives (1834-1907 American) Library of Congress, Washington, D.C., USA

Head of Medusa, in Greek mythology a Gorgon, the daughter of the sea deities Phorkys and Keto, with snake hair, Historical, digitally restored reproduction from a 19th century original

The Holocaust Memorial, Miami Beach Detail of A sculpture of Love and Anguish by Kenneth Treister

Winged Victory. Giuseppe Cades (Italy, Rome, 1750-1799). circa 1778. Drawings. Pen and brown ink, blue and brown wash on cream laid paper

On The Field of Honour. A dead soldier is honoured with a wreath by a winged angel. After an illustration by H. Chandler Christy. From King Albert´s Book, published 1915.

The Eumenides

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