Venus and Mythological Figures

Artistic representations of Venus and other mythological figures like Cupid, depicted through etchings and engravings with a romantic, classical style.

Narcissus, crowned with flowers, admiring his beauty; beside him, Cupid feeling pity for him, Herculaneum, Campania, Italy, engraving by Francesco Cepparoli from a drawing by G E Morghen, from Le antichita di Ercolano esposte (The antiquities of Herculaneum exposed), Vv.Aa., volume V, plate 28, 1757-1787, Naples.

Element earth as naked woman with horn of abundance, Nicolaes de Bruyn, after Maerten de Vos, 1581 - 1656 print Element earth as naked woman sitting with Hoorn of Abundance. In a frame with animals, plants, flowers, fruit, vegetables and products from agriculture and animal husbandry. Netherlands paper engraving earth (one of the four elements). 'Cornucopia', Horn of Plenty

Simone Cantarini (Italian, 1612 - 1648). The Holy Family with St. John, 17th century. Etching. Plate: 131 mm x 84 mm (5.16 in. x 3.31 in.). Only state.

Apollo according to Pierre de Cortone, (Dutuit 36, White 75) Cornelis II Blloert, said U Young (1603-1692). Apollo of Apollo Pierre de Hornia, (DuTUITUIT P. 36, STUR 75). Burin, Curnitely sites. Museums of the city of the city of Paris, small palace.

Paris's opinion. Paris is on the right and for him the goddesses Venus, Juno and Minerva. He gives Venus the golden apple.

The good angels and the bad angel. Engraving. "Los Héroes y las Grandezas de la Tierra". Volume I. 1854.

Torture of Prometheus, Unknown, After Pierre Jean Baptiste Isidore Choquet, 1784 - 1824 print Nummered at the top right 7. France paper etching / engraving an eagle tears at Prometheus' liver

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

A copper engraving by Hendrick Goltzius depicting Mars, the Roman god of war, shown in classical armor with symbolic attributes, created circa 1590.

Venus and Cupid , Supernatural beings, Venus Roman deity, Cupid Roman deity. Thomas Rowlandson (1756-1827). Prints and Drawings

Venus and Amor in oval.

Roman orgy. Aquatint by Theophile Fillon after an illustration by Paul Avril from Friedrich Karl Forbergs Manual of Classical Erotology, Manuel derotologie classique, De Figuris veneris, Charles Hirsch, 1906, translated by Alcide Bonneau (not Isidore Liseaux).

La Fontaine d'Amour. Artist: After Jean Honoré Fragonard (French, Grasse 1732-1806 Paris). Dimensions: sheet: 24 15/16 x 19 in. (63.4 x 48.3 cm)image: 23 7/16 x 16 15/16 in. (59.5 x 43.1 cm). Engraver: Engraved by Nicholas François Regnault (French, Paris 1746-1810). Date: 1785. Museum: Metropolitan Museum of Art, New York, USA. Author: After Jean Honoré Fragonard.

Rudolf II of Habsburg (German Emperor), Sadeler, Raphaël (I), Germany, Jupiter and Antiope, verso bottom center - stamped, The sleeping Antiope on a bed. Amor stands on the bed and tries to chase away Jupiter, who, disguised as a satyr, spies on Antiope's nakedness under the sheets., print, prints, width 205 mm, height, 176 mm, South Netherlands, 1560, print maker, 1603 - 1603, paper, engraving, engraving (printing process), Publication (Event), Publication, South Dutch, publisher, 1552-07-18 - 1612-01-20, grantor of privilege

The Daughter of Herodias (Salome Receiving the Head of John the Baptist, Matthew 14:10-11) 1798 Thomas Holloway. The Daughter of Herodias (Salome Receiving the Head of John the Baptist, Matthew 14:10-11) 698531

Thisbe discovers the dead pyramus, 1620 - 1629 drawing Zwolle paper. ink. watercolor (paint) brush

Two frolicking badnimmers. Draughtsman: Gerard ter Borch (I). Dating: 1614 - 1616. Place: Zwolle. Measurements: h 202 mm × w 160 mm. Museum: Rijksmuseum, Amsterdam.

Death of the Strong Wicked Man, from The Grave, a Poem by Robert Blair. Artist: Luigi Schiavonetti (Italian, Bassano del Grappa 1765-1810 London); After William Blake (British, London 1757-1827 London). Dimensions: plate: 8 1/8 x 10 1/4 in. (20.6 x 26 cm)sheet: 9 1/2 x 10 15/16 in. (24.1 x 27.8 cm). Publisher: Cadell and Davies (London). Date: May 1, 1808. Museum: Metropolitan Museum of Art, New York, USA.

Round depiction of Venus and Cupid near a tree. Venus holds a bunch of grapes, Cupid hands her a bundle of grain. In the background Ceres amidst grain harvesters and Bacchus amidst grape pickers. Around the scene an empty margin, intended for an edge inscription., Venus and Cupid Sine Cerere et Baccho friget Venus , print maker: Hendrick Goltzius, (mentioned on object), Agostino Carracci, publisher: Hendrick Goltzius, Haarlem, 1588 - 1592, paper, engraving, d 95 mm

The love , The love , Johann Hieronymus Delete Kohl -, publishing house

Paris, Demarteau, Gilles, Boucher, François, France, Pastorale, Two lovers, reco middle bottom - etchings, Two lovers embrace each other, sitting on the ground in a landscape., print, prints, verso middle - stamped, verso middle bottom - stamped, no. 486, recto bottom right - etchings, Du Porte-feuille de Mr. Nera, height 231 mm, width 165 mm, South Dutch (before 1775), 1722-01-19 - 1776-07-31, print maker, printmaker, 1756 - 1776, third quarter 18th century, fourth quarter 18th century, paper, crayon way, color printing, French, 1703-09-29 - 1770-05-30, intermediary draftsman, after a drawing by, Publication (Event), Publication, publisher

James Barry, 1741-1806, Irish, Jupiter and Juno on Mount Ida, c. 1809. Etching.

La Foire aux amours. Félicien Victor Joseph Rops (Belgium, Namur, 1833-1898). Belgium, circa 1880. Prints; etchings. Etching

Statue of a kissing couple. Draughtsman: Jean Grandjean. Dating: 1765 - 1781. Measurements: h 482 mm × w 353 mm. Museum: Rijksmuseum, Amsterdam.

The Children in the Wood, Print made by James Watson, 1740-1790, British, after Sir Joshua Reynolds RA, 1723-1792, British, 1772, Mezzotint (first state) on medium, slightly textured, cream, laid paper, Sheet: 19 3/8 × 15 1/8 inches (49.2 × 38.4 cm), Plate: 14 7/8 × 11 inches (37.8 × 27.9 cm), and Image: 12 7/8 × 10 15/16 inches (32.7 × 27.8 cm)

Reni, Guido, Wolfenbüttel, Heckenauer, Jakob Wilhelm, Cimon and Pero (Caritas Romana), Text in German and Latin in the lower margin. The print is part of an album., print, album leaf, prints, height 233 mm, width 301 mm, German, 1696 - 1738, print maker, printmaker, 1710 - 1714, paper, papier, engraving, engraving (printing process), Work conception, after own design by, Italian, 1575-11-04 - 1642-08-18

Fishermen. Artist: After John Hamilton Mortimer (British, Eastbourne 1740-1779 London). Artist and engraver: Etched and published by Robert Blyth (British, ca. 1750-1784). Dimensions: Sheet: 15 1/16 x 16 7/16 in. (38.2 x 41.7 cm). Date: November 9, 1780. Museum: Metropolitan Museum of Art, New York, USA.

Title Page Design for the Comedies of Terence, Jan de Bisschop, after Pieter Couwenhorn, after Cornelis van Dalen (I), 1662, Allegorical composition with Minerva, Veritas and old man with mask., draughtsman: Jan de Bisschop, intermediary draughtsman: Pieter Couwenhorn, (possibly), Cornelis van Dalen (I), 1662, paper, pen, brush, h 147 mm × w 94 mm

Bliżej Kultury Verlag of Ferdinand Schenk in Vienna

Two Van Diana's Nymphs with Water Curses, Jan Saenredam, After Hendrick Goltzius, 1616 print Two nymphs from the result of Diana. They hold water jars and embrace each other. The print is part of a three -part series by Diana and her nymphs and has a Latin caption. paper engraving Selnanonons, 'Hinfin the thee is (paria). Covaler of Euvals: Chuns: Chunt, test, Volum, verses

Photo production of the sleeping Venus by Giorgione. Part of family album with photos of a Dutch-Indian family and from a sugar factory in PurnWorejo.

Silenus at the Wine Vat. Jusepe de Ribera; Spanish, 1591-1652. Date: 1628. Dimensions: 275 x 352 mm (plate); 282 x 356 mm (sheet). Etching in black on cream laid paper. Origin: Spain. Museum: The Chicago Art Institute, Chicago, USA. Author: Jusepe de Ribera.

Apollo with Lyre, Fame, Abundance, Beauty and Two Putti on Clouds, Study after Marcantonio Franceschini, Felice Giani, Italian, 1758-1823, Pen and brown ink, brown wash, over black chalk white heavy wove paper, Above, Apollo with lyre, sitting on cloud. At center and at left, three reclining nymphs or goddesses. One with book and trumpet, one with cornucopia, and one with mirror. Below, two winged putti, one holding short sword, and one putti with round shield., Italy, Italy, 1821-22, figures, Sketchbook folio, Sketchbook folio

Drawing, Bacchus Sleeping (after Poussin); Leon Dabo (1868-1960); After Nicolas Poussin (French, 1594-1665); USA; graphite on cream wove paper; 19.9 x 27.3 cm (7 13/16 x 10 3/4 in.); 1961-5-9

'LOVE TRIUMPHANT,' BY MR. M'DOWELL, A., AT THE EXHIBITION OF THE ROYAL ACADEMY

Design for a Ewer 1734-91 Jean Charles Delafosse French. Design for a Ewer 335763

Bacchus Sleeping (after Poussin), Leon Dabo, American, 1868-1960, Nicolas Poussin, French, 1594-1665, Graphite on cream wove paper, The nude Bacchus is seen turned half-right, lying on drapery, half supported on block behind shoulders. Right, cornicopia., USA, 1886-92, figures, Drawing, Drawing

Nude by Rembrandt van Rhijn, Etching, circa 1631, Baroque, 1606-1669, Collection J. de Bruijn, 17,6x16

Phrosine en Mélidore, Pierre Prud'hon, 1797 print Scene from the poem by Pierre-Joseph Bernard. Mélidore saves his beloved Phrosine from the sea. paper etching / engraving saving a person from drowning. couple of lovers. sea

Apollo on the clouds and Jupiter with Callisto, Anonymous, 1688 - 1698 print Apollo is on the clouds with his winch and looks down on Jupiter and Callisto. Jupiter disguised himself as the moon goddess Diana. Amor looks at the love couple with an arc in his hand. This print is part of an album. Netherlands paper engraving Jupiter, in the guise of Diana, and Callisto. Cupid handling his weapons. attributes of Apollo: lyre. (story of) Apollo (Phoebus). homosexual love - CC - homosexual love between women: lesbianism

Battoni: Die bussende Magdalena. Dresdener Galerie.. F. & O. Brockmann (German, founded 1854, dissolved 1870)

Bliżej Kultury Verlag of Ferdinand Schenk in Vienna

Reclining Venus, (story of) Venus (Aphrodite), Gilles Demarteau (mentioned on object), Paris, 1732 - 1776, paper, etching, h 173 mm × w 225 mm

Suzanna and the elders, 1617 - 1619 drawing Zwolle paper. ink. chalk. watercolor (paint) brush

Amor punishes a Sater. Amor punishes a Sater, which has dropped its pan flute to the ground. In addition, two nymphs, which were probably spied by the Sater.

Summer statue, Matthijs Pool, After Barend Graat, After Francis van Bossuit, 1727 print Front and back view of a statue of the summer, with a corn sheaf. Under the performance numbered: LXVIII and LXVIX. Amsterdam paper engraving / etching piece of sculpture, reproduction of a piece of sculpture. summer, 'Aestas'; 'Estate' (Ripa)

Otylia from Goethes novel (chart from `Chudożestwiennyj Listok`). Minster, A.E. (Petersburg ? ; zakład litograficzny ; fl. ca 1850-1870), lithography atelier, Timm, Georg Wilhelm (1820-1895), graphic artist, Fernlund, draughtsman, cartoonist, Henkel, W. E. (Petersburg ; wydawnictwo ; ca 1850-1870), publisher

Francesco Bartolozzi RA, 1728-1815, Italian, active in Britain (1764-99), Cupid and Psyche, 1789. Line engraving.

Reclining Female Nude, draughtsman: Jan Lodewijk Jonxis, 1799 - 1867, paper, h 204 mm × w 236 mm

Amymone () with a Lecherous Satyr. Artist: William Hamilton (British, London 1751-1801 London). Dimensions: Sheet: 13 1/16 × 10 9/16 in. (33.2 × 26.8 cm). Date: 1770-80.Hamilton belonged to a generation determined to expand the scope of the arts in Britain. He traveled to Rome as a teenager to study with Antonio Zucchi, returned to England to make decorative paintings for Robert Adam, then entered the Royal Academy Schools in 1769. From that point forward he focused on historical and literary subjects, together with portaits. This early drawing of a naked woman ensnared by a satyr may illustrate the Greek myth of Anymone, saved by Poseidon who then became her lover. Museum: Metropolitan Museum of Art, New York, USA.

Bacchus, painting by Eugene Delacroix at the Hotel de Ville, Paris, France, illustration from L'Illustration, Journal Universel, No 583, Volume XXIII, April 29, 1854.

Rijn, Rembrandt van, Adam and Eve, verso bottom center, print, prints, Rembrandt f. 1638, bottom center, bottom right, verso bottom left, height 163 mm, width 117 mm, Noord-Nederlands, 1606-07-15 - 1669-10-08, print maker, printmaker, 1638 - 1638, second quarter 17th century, paper, papier, etching, etchings, Work conception, after own design by

Raffle Ticket for the Painting of Venus and Cupid after Michelangelo 1734 Gerard Vandergucht Large sheet with descriptive text and an image below. The text identifies the print as one of 50 raffle tickets, sold at the price of ten guineas for a chance at the painting of Venus and Cupid after a composition by Michelangelo Buonarroti, here attributed to Jacopo Pontormo. The raffle ticket was issues on December 16, 1734, while the auction was to be held on March 29, 1735 at Essex House on the Strand. The ticket also describes that the painting will be available for viewing at the same location on weekdays from noon til 2PM, excepting Sundays and holidays. According to later sources, the raffle never took place as Queen Caroline had taken a liking to the painting and it was acquired by King George II See: Mrs. Anna Jameson, A Handbook to the Public Galleries of Art in and Near London, part II, London 1842, p. 362. Raffle Ticket for the Painting of Venus and Cupid after Michelangelo. Afte

Roman soldier with halberd, sitting.

Euterpe. Stipple engraving by P. Bettelini after G.B. Cipriani.

A Turkish Bath (Aubry de La Mottraye's "Travels throughout Europe, Asia and into Part of Africa...," London, 1724, vol. I, pl. 10) 1723-24 William Hogarth British Hogarth made this print early in his career to illustrate a travel book by the French author Aubry de La Mottraye. The image of a woman bathing with the assistance of a servant derives from one in "Recueil de cent estampes représentant differéntes nations du Levant..." (A Collection of One Hundred Prints Representing Nations of the Levant, 1712-13). In that earlier publication plate 45, "La fille turque à qui l'on tresse les cheveux au bain" (Turkish girl having her hair dressed in a bath) was engraved by Jean Baptiste Haussard after Jean Baptiste Vanmour. Hogarth's print adapts Vanmour's figures to show the servant pouring water over her mistress, rather than arranging her hair, and adds a ceiling pierced with with round glass panes, an architectural feature that La Mottraye mentions seeing at a bathhouse at Tripoli.. A Turk

Cimon en Pero, Jakob Wilhelm Heckenauer, After Guido Reni, 1710 - 1714 Text in German and Latin in the lower margin. Print is part of an album. Wolfenbüttel paper engraving Text in German and Latin in the lower margin. Print is part of an album. Wolfenbüttel paper engraving

Campania Caserta Caserta Palazzo Reale57. 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.

Portrait of woman of the Harem painting by Francisque Edouard Bertier (1842-1925) French painter, France. Old XIX century engraved illustration from La Ilustracion Española y Americana 1890

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

Pencil and brown ink drawing by Henry Tresham showing three nymphs with Cupido standing in front of a smoking altar.

Three boys, two saters, a bacchant and a goat; Putti and Saters. .

Rijn, Rembrandt van, Nude woman, seated on a dais, verso lower left, print, prints, verso lower right, height 177 mm, width 160 mm, Noord-Nederlands, 1606-07-15 - 1669-10-08, print maker, printmaker, 1629 - 1633, second quarter 17th century, paper, papier, etching, etchings, Work conception, after own design by

Death of Cleopatra. Dated: 1547. Dimensions: sheet (irregular hexagon): 11.2 x 15.1 cm (4 7/16 x 5 15/16 in.). Medium: etched counterproof on laid paper. Museum: National Gallery of Art, Washington DC. Author: Augustin Hirschvogel.

Caltnadel by Meister von 1515, early 16th century, depicting satyrs with a bacchantine figure, illustrating mythological revelry and Bacchic ritual.

Copper engraving by Giovanni Petrini around 1790 showing Adam and Eve being expelled from Paradise, illustrating punishment and divine command.

Delices de la Campagne 1818 baron Dominique Vivant Denon French. Delices de la Campagne. baron Dominique Vivant Denon (French, Givry 1747-1825 Paris). 1818. Lithograph. Prints

Man sitting on the ground with woman and child; Paintings in the Sixtin Chapel. Figures from Michelangelo's ceiling painting. Numbered at the bottom right: 69. The print is part of an album.

Scene of two cherubs and a lamb, from original by Scarsellino.. Scarsella, Ippolito, 1551-1620. Prints. 1837 - 1842. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Art & Architecture Collection. Painting , Germany , Munich, Lithography, German, Angels, Lambs

Print made by William Blake, 1757-1827, British, The First Book of Urizen, Plate 19, "They Call'd Her Pity and Fled...." (Bentley 19), 1794. Color-printed relief etching in orange-brown with watercolor on moderately thick, slightly textured, cream wove paper.

Cupid and Psyche Together in the Nuptial Bed. Master of the Die (Italian, active c. 1530-1560); after Michiel Coxcie I (Flemish, 1499-1592); in turn, inspired by Raffaello Sanzio, called Raphael (Italian, 1483-1520). Date: 1530-1541. Dimensions: 200 x 235 mm (plate); 270 x 370 mm (sheet). Engraving in warm brown ink on cream laid paper. Origin: Italy. Museum: The Chicago Art Institute, Chicago, USA.

A pencil, brush, and spring drawing with white cover color by Josef Abel depicting Socrates with a chisel in 1807.

Title page for "new teecken-boeck. Second part"; New Teecken-Boeck. Do not cut sheet with two performances. Left, a seated young man draws a sculpture. Right on the same sheet, a study of two standing plump putti. Left in contour, right with arrangements. Legal under numbered 1 and 2.

A coal drawing by Karl Rahl the Younger depicting a laughing mask, showing facial features, expression, and stylized form.

A Turkish Bath (Aubry de La Motraye's "Travels throughout Europe, Asia and into Part of Africa...," London, 1724, vol. I, pl. 10). Artist: William Hogarth (British, London 1697-1764 London). Author: Illustrates Aubry de La Mottraye (French, 1674-1743). Dimensions: sheet: 9 13/16 x 6 3/4 in. (24.9 x 17.1 cm). Date: 1723-24. Museum: Metropolitan Museum of Art, New York, USA.

Achille Devéria (1800-1857) and Rose-Joseph Lemercier (1803-1887). Album with six naked women's subjects: the alarm clock. Lithography on China, 1829. Paris, Carnavalet museum. 76130-12 Album, naked woman, lithography on China, female naked, nudite, tray, awakening, six subjects, carafe, cloth, engraving, bed

Young Emperor Caligula is caught in flagrante by his grandmother Antonia sleeping with his sister Julia Drusilla. Caligula, jeune encore, couche avec sa soeur Drusille, est surpris par sa grand-mere Antonia. Copperplate engraving from Pierre-Francois d'Hancarvilles Monumens de la Vie Privee des Douze Cesars, Chez Sabellus, Capri (Monuments of the Private Lives of 12 Caesars, Leclerc, Nancy) 1780. From imaginary Spintria, medals and cameos.

Galatea

Photo production of (presumably) a drawing by John the Baptist. Part of album with pictures of sights and landscapes in England and of art.

Paris, Orléans, Philippe Duc d', France, Audran, Benoît (I), Chloé verse à boire à Daphnis, Chloë pours Daphnis' glass, verso - stamped, Numbered at top right p. 87., print, book illustration, prints, height 97 mm, width 74 mm, 1661 - 1721-10-02, print maker, printmaker, 1718 - 1718, paper, etching, Work conception, French, 1674-08-02 - 1723-12-02, after a design by, after, after a painting by, Publication (Event), Publication, publisher

Diana at the Bath Rembrandt Harmensz. van Rijn (Dutch, 1606-1669). , ca. 1631. Etching on laid paper, Plate: 6 15/16 x 6 3/16 in. (17.6 x 15.7 cm). European Art ca. 1631

Invocation to Love, c. 1781. Jean-Honoré Fragonard (French, 1732-1806). Brush and brown ink with graphite squaring lines and underdrawing on cream laid paper; sheet: 33.5 x 41.6 cm (13 3/16 x 16 3/8 in.); secondary support: 37.6 x 47.8 cm (14 13/16 x 18 13/16 in.).

Abroad and At Home February 28, 1807 Thomas Rowlandson. Abroad and At Home. Thomas Rowlandson (British, London 1757-1827 London). February 28, 1807. Etching. Rudolph Ackermann, London (active 1794-1829). Prints

Woman on chaise longue with flowers, anonymous, 1830 - 1860 print France paper etching woman (showing herself) undressed, quasi-nude. flowers: rose

Child with Passer and Bol as personification of Geography, John Faber (II), After Robert Barett Brown, 1694 - 1756 print paper etching geography. child

Roman Charity (La Charité romaine). Artist: Claude Mellan (French, Abbeville 1598-1688 Paris); After Simon Vouet (French, Paris 1590-1649 Paris). Dimensions: sheet: 7 3/16 x 4 15/16 in. (18.2 x 12.5 cm)plate: 6 11/16 x 4 7/16 in. (17 x 11.3 cm). Museum: Metropolitan Museum of Art, New York, USA.

Two Putti HAASPENT WOL, Alexandre Collette, After Pierre Prud'Hon, 1846 - 1876 print Paris paper. etching spinning (manufacture of yarn). cupids: 'amores', 'amoretti', 'putti'

Sir Peter Paul Rubens, Pan Reclining, possibly c 1610 Pan Reclining

Pan Reclining. Dated: possibly c. 1610. Dimensions: overall: 30.9 x 49.3 cm (12 3/16 x 19 7/16 in.). Medium: red and black chalk with red wash and gouache. Museum: National Gallery of Art, Washington DC. Author: PETER PAUL RUBENS.

Spiritual and a child at a dead, Reinier Vinkeles (I), 1794 print On the flood line is a spiritual with a child with a naked dead man. Illustration with the story 'Camiré'. Amsterdam paper etching / engraving apparent death. beach. one person praying

Endymion, Nicolas de Launay (Goudsmid), After Jean Baptiste Marie Pierre, c. 1763 print print maker: Francepublisher: Paris paper etching / engraving Diana (Luna) visiting the sleeping Endymion. sleeping; unconsciousness - BB - out of doors. dog

Roman Sapphic couple having sex with a strap-on dildo. Aquatint by Theophile Fillon after an illustration by Paul Avril from Friedrich Karl Forbergs Manual of Classical Erotology, Manuel derotologie classique, De Figuris veneris, Charles Hirsch, 1906, translated by Alcide Bonneau (not Isidore Liseaux).

Personification of Sculpture, Jan De Bisschop, After Michelangelo, 1663 - in Or Before 1668 print A sitting woman with a statue in her hand. Northern Netherlands paper etching 'Sculptura', symbolic representations, allegories and emblems ~ sculpture; 'Scoltura' (Ripa)

Diabolocracy, Pieter van Woensel, 1797 - 1798 Cartoon on the democracy brought by the French. The Dutch Virgin is dressed in rags on a dung heap, at her feet the broken lance and hat. Illustration in Pieter van Woensels Almanak 'De Lantaarn for 1798'. Netherlands paper etching Netherlands Cartoon on the democracy brought by the French. The Dutch Virgin is dressed in rags on a dung heap, at her feet the broken lance and hat. Illustration in Pieter van Woensels Almanak 'De Lantaarn for 1798'. Netherlands paper etching Netherlands

Francesco Bartolozzi RA, 1728-1815, Italian, active in Britain (1764-99), Venus Sleeping, 1785. Engraving.

Mirabeau on his death bed ....

Business-men's bath , Business people, Public baths, Young Men's Christian Association of the City of New York. George Bellows (1882-1925). Prints and Drawings

In the upper painting, Diana, Apollo and Calliope, behind them an elderly man crowned with oak leaves holding a crook appears from a rock; in the lower painting, winged Caryatids, masks, or Gorgons, ducks with a swan, and peacocks, Herculaneum, Campania, Italy, engraving by Rocco Pozzi from a drawing by Vanni, from Le antichita di Ercolano esposte (The antiquities of Herculaneum exposed), Vv.Aa., volume II, plate 10, 1757-1787, Naples.

Venus en Amor, Mouricault, in or after 1783 - 1793 drawing paper. chalk Venus and Cupid (Cupid not being mere attribute)

Abroad and At Home. Artist: Thomas Rowlandson (British, London 1757-1827 London). Dimensions: Sheet: 5 15/16 × 7 11/16 in. (15.1 × 19.5 cm). Publisher: Rudolph Ackermann, London (active 1794-1829). Date: February 28, 1807. Museum: Metropolitan Museum of Art, New York, USA.

François, J. (1817), Rotterdam, Wolff, Joannes Josephus, Birth of the future King William III, 1817, verso - stamped, Allegory of the birth of Willem Alexander Paul Frederik Lodewijk, the hereditary prince of Orange and later King William III, on 19 February 1817. A child crawls out of the burst husk of an orange apple, the fruit of an orange. He lies in a flat dish decorated with symbolic figures. On the left on a cloth the coats of arms of the Netherlands and Russia. On the left behind a clock with the text: Il est né. In the background a night sky., print, prints, Frederik Muller Historieplaten, height 464 mm, width 350 mm, Dutch, 1779-09-10 - 1830, print maker, printmaker, 1817 - 1817, paper, papier, etching, etchings, stippelets, engraving, engraving (printing process)

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