Angels Supporting A Man

A dramatic print featuring a muscular, naked man with chains, supported by two angels in a rocky landscape. Depicts themes of rescue and spiritual guidance.

Labor and Vlijt (Labor and Diligentia), Anonymous, After Hendrick Goltzius, 1582 - 1667 print A naked woman, personification of De Vlijt, sits on a naked man's lap, the personification of work, and kisses him. There are all kinds of tools in the foreground, such as a shovel and an anvil. Netherlands (possibly) paper engraving Carefulness, Diligence; 'Diligenza' (Ripa) (+ personification). Labour

Vulcanus and Ceres; The loves of the gods; Gods loved ones. The naked Ceres and vulcanus kiss each other in the smithy of vulcanus. In the undermaster an Italian verse in two columns.

Man supported by two angels, Egbert van Panderen, After Paolo Guidotti, c. 1590 - 1637 print Rocky landscape with two angels who support the body of a man. The man is, except for a loincloth, naked and has chains in his right hand. There is a rope in the foreground. Antwerp paper engraving being supported. angels

The Four Elements. Artist: After Hendrick Goltzius (Netherlandish, Mühlbracht 1558-1617 Haarlem); Jacob Matham (Netherlandish, Haarlem 1571-1631 Haarlem). Dimensions: Sheet: 11 3/4 × 8 3/16 in. (29.8 × 20.8 cm). Date: 1588. Museum: Metropolitan Museum of Art, New York, USA. Author: After Hendrick Goltzius. Jacob Matham.

Labor and Vlijt (Labor and Diligentia), Anonymous, After Hendrick Goltzius, 1582 - 1667 print A naked woman, personification of De Vlijt, sits on a naked man's lap, the personification of work, and kisses him. There are all kinds of tools in the foreground, such as a shovel and an anvil. Netherlands (possibly) paper engraving Carefulness, Diligence; 'Diligenza' (Ripa) (+ personification). Labour

The Lamentation 1598-1632 Raphael Sadeler I. The Lamentation. Raphael Sadeler I (Netherlandish, Antwerp 1560-1628 Venice ()). 1598-1632. Engraving. Prints

Jupiter on clouds with lightning bolts and eagle, Jacob Binck, after Giovanni Jacopo Caraglio, 1530 print Jupiter as God of heaven and the changeable weather on clouds with lightning bolts in his hand and accompanied by an eagle. Under the performance is the inscription IVPPITER AETHEREA SVMMA Dominator in Arce. Copy to a print by Giovanni Jacopo Caraglio Germany paper engraving (story of) Jupiter (Zeus)

Amor asks Venus the bow; Scenes with Venus and Amor (copies); Scherzi d'Amore.venus and Amor in a Landscape. Venus Holds The Arch or Amor. Italian fresh in undermarge.

Bacchus, Ceres, and Venus. Artist: Jan Muller (Netherlandish, Amsterdam 1571-1628 Amsterdam); Bartholomeus Spranger (Netherlandish, Antwerp 1546-1611 Prague). Dimensions: sheet: 20 x 14 1/8 in. (50.8 x 35.8 cm). Date: 1591-92. Museum: Metropolitan Museum of Art, New York, USA.

Hercules and the Nemean Lion: Hercules grasps the shoulders and chest of the lion, which is viewed from the back, beside a rocky outcrop ca. 1530-87 Adamo (Ghisi) Scultori Italian. Hercules and the Nemean Lion: Hercules grasps the shoulders and chest of the lion, which is viewed from the back, beside a rocky outcrop 398178

Pan and Amor. Pan and Amor in a fight. The pan flute of pan is on the floor.

Horace Codes, Hendrick Goltzius, 1586 print The hero Horace Cocles, a sword lifted in the right hand, a shield in the left hand. In the background you can see how he takes on the banks of the Tiber on his own against an entire army. Twice two verses in Latin under the performance. This print is part of a series of ten prints, consisting of an unnumbered title print, eight numbered representations of Helden and an unnumbered closing print. paper engraving Horatius Cocles at the Pons Sublicius: single-handed he keeps the Etruscans at bay while the bridge is broken down by the Romans behind him; he escapes by jumping into the Tiber

Storer, Johann Christoph, Maria Magdalena, verso - stamped, print, prints, height 181 mm, width 132 mm, German, Swiss, 1611 - 1671, print maker, printmaker, 1621 - 1671, paper, papier, etching, etchings, plaattoon, Work conception, after own design by

Venus on a tree bound and amor punished by Minerva. Venus is tied to a tree with her hands. Minerva attracts amor to his upper arm and beats him with her knit. Her shield with the medusa head is on the floor.

The Martyrdom of St. Bartholomew, 1624. Jusepe de Ribera (Spanish, 1591-1652). Etching;

Bacchus, Hendrick Goltzius, 1631 print Bacchus lifts his drinking nap. He wears a crown of grapes and wingerd leaves on his head and a goat skin around his shoulders. Behind him a sater eating grapes. The upper corners of the frame are decorated with the heads of Saters, the under corners with drinking glasses. Haarlem paper engraving (story of) Bacchus (Dionysus), Liber

Amor asks Venus the Bow Scè nes with Venus and Amor (copies) (series title) Scherzi d'amore (series title on object), Venus and Amor in a landscape. Venus holds the bow of Amor. Italian verse in lower margin., Venus and Cupid (Cupid not being mere attribute), Odoardo Fialetti, Italy, in or after 1617, paper, etching, h 164 mm × w 86 mm

Venus en Vulcan, Agostino Veneziano, after Rafaël, 1530 print Venus and Vulcanus are in a departure, behind them a curtain. Five putti around them, two of which are busy tensioning an arc. On the right in the background, the blacksmith is visible by a doorway. Italy paper engraving / etching Vulcan and Venus. Cupids: 'Amores', 'Amoretti', 'Putti'

Apotheosis of heroes under the government of Minerva, Pieter Tanjé, after Louis Fabritius Dubourg, 1743 print Allegorical representation that depicts that under the government of the goddess of wisdom Minerva blooming eloquence and heroism. In the foreground, Minerva is in a pile of books, with her spear in the hands. Seen a woman on her back next to her, perhaps a muse, with the caduceus. On the clouds, heroes climb to the Olympus, where Jupiter is waiting for them. Father Time watches in vain and sees how the heroes give themselves eternal fame. A two -line text in the lower margin. paper etching / engraving (story of) Minerva (Pallas, Athena). Eloquence; 'Eloquenza', 'Fermezza & Gravità dell'Oratione' (Ripa). heroes, male characters from the legendary origins of Rome. (story of) Jupiter (Zeus). Father Time, man with wings and scythe

Holofernes lies on a bed with canopy. Judit is holding him by his hair with her left hand, her right hand with the sword raised. Outside the tent her maid sits on guard. The print is part of a six-part series on women's lists, Judit chopping off Holofernes' head (series title)., print maker: Dirck Volckertsz. Coornhert, intermediary draughtsman: Maarten van Heemskerck, Haarlem, 1551, paper, engraving, etching, h 248 mm × w 194 mm

The Explusion from Paradise. Dated: 1529. Medium: engraving. Museum: National Gallery of Art, Washington DC. Author: LUCAS VAN LEYDEN.

Personification of envy, imagined as women's figure with snakes like her, two snakes in her hand, gnawing on a heart.

Lairesse, Gerard de, Principle of Roman politics, Beheading of two kings by order of a Roman emperor, verso - stamped, From his throne, a Roman emperor orders an executioner to behead a blindfolded king. The head of the second king already lies chopped off on the ground. Next to the emperor, a pleading man is held back by a number of soldiers. This print illustrates the second part of Virgil's basic principle of Roman policy: 'Parcere subiectis, sed debellare superbos' (Virgil, Aeneid 6.853). According to this principle, the subjugated would be spared, but those who stubbornly resisted would be destroyed. Pendant of a print about the first part of this rule., print, prent, prints, height 313 mm, width 207 mm, Noord-Nederlands, 1641 - 1711, print maker, prentmaker, 1670 - 1670, paper, papier, etching, etsen

Lucretia and Sextus. Sextus fails Lucretia, which is naked on a four-poster bed, with a dagger and forces her to submit to him.

A satyr wearing spectacles removes a thorn from the foot of a male faun while a female faun and boy satyr observe, with printed latin verse. Line engraving by G. Piccini after J. Muller after B. Spranger.

The Martyrdom of Saint Bartholomew 1624 Jusepe de Ribera (called Lo Spagnoletto) Spanish. The Martyrdom of Saint Bartholomew 370198

Bacchus en Erigone, Giovanni Jacopo Caraglio, after Perino del Vaga, 1515 - 1565 print Bacchus and Erigone are naked and intertwined with their legs. There is a lion at their feet. In the undermarge Italian fresh in two columns. Italy paper engraving Erigone and Bacchus, the latter possibly in the shape of a bunch of grapes. love-affairs of Bacchus ~ females

Thetis Standing with Two Tritons. Artist: Anonymous, Italian, 16th century; After Perino del Vaga (Pietro Buonaccorsi) (Italian, Florence 1501-1547 Rome). Dimensions: sheet: 8 7/8 x 6 1/16 in. (22.5 x 15.4 cm) borderline. Former Attribution: Formerly attributed to Giorgio Ghisi (Italian, Mantua ca. 1520-1582 Mantua). Museum: Metropolitan Museum of Art, New York, USA.

Venice, Bertelli, Orazio, Italy, Veronese, Paolo, Carracci, Agostino, Mary with the body of Christ (Pietà), verso - stamped, Mary stands with the body of Christ in her arms. An angel stands by and holds Christ's hand. In the foreground on the left is the crown of thorns., print, prent, prints, height 408 mm, width 285 mm, Italian, 1557 - 1602-03-22, print maker, printmaker, 1582 - 1582, paper, papier, engraving, engraving (printing process), Work conception, 1528 - 1588-04-19, after a design by, Publication (Event), Publication, publisher, uitgever

Hercules draagt de zuilen.Hercules, walking with a large column over every shoulder.

. Female element water personification. She sits on the coast of a sea with two jugs in her hands from which water flows. Fish and other water animals swim in the sea. The print is part of a series with the four elements as the subject.

Copper engraving by Hendrick Goltzius circa 1586 showing Marcus Curtius mounted on a horse, a scene from Roman legend.

Pan Ent Amor, Sisto Badalocchio, After Agostino Carracci, 1591 - 1647 print Pan and Amor in fight. Pan's pan flute is on the floor. print maker: Italyafter painting by: Bologna paper etching Cupid vanquishing Pan

Hercules and the Nemean Lion, Agostino Veneziano, After Rafaël, 1528 print Hercules stands between the ancient ruins while holding the Nemean lion. With his arms he clips the lion's neck to strangle him. Italy paper engraving / etching (1) Hercules chokes the Nemean lion with his arms. ruin of a building ~ architecture

Allegory on hunting; Allegoria della caccia. The hunter Orion carries Diana, the goddess of the hunt, on his back. Together they go hunting with hunting dogs. In the background Diana's nymphs. Under the image four lines of Latin.

Hendrick Goltzius (1558-1617); Bartholomeus rampers (1546-1611), March and Venus, 1588

Italy, Beatrizet, Nicolas, Apollo and Marsyas, verso - stamped, Apollo is about to flay Marsyas. In the foreground on the right lies a violin and a river god sits. In the background a temple with a dead body dangling from the ceiling., print, prent, prints, height 385 mm, width 270 mm, French, 1515 - 1565, print maker, printmaker, 1525 - 1565, paper, papier, etching, etchings, engraving, engraving (printing process)

Dialectics, from the series: seven liberated pieces; Pencz, Georg (CA 1500-1550); 16th century (1500-00-00-1600-00-00);

Rome, Rossi, Giovanni Giacomo de', Italy, Carracci, Ludovico, Agostino, Annibale, Mitelli, Giuseppe Maria, L'Enea Vagante pitture dei Caracci, Wanderings of Aeneas, Man Subduing a Harpy, verso - stamped, Console with a Nude Man, One of the Soldiers of Aeneas, Sitting on a Harpy., print, prent, prints, height 334 mm, width 206 mm, Italian, 1634 - 1718-02-08, print maker, printmaker, 1663 - 1663, paper, papier, etching, etchings, 1560-11-03 - 1609-07-15, after a painting by, 1557 - 1602-03-22, 1555 - 1619-11-13, 1627 - 1691, printer

Amor near Venus and Mars, Anonymous, After Arnold Houbraken, 1700 - 1750 print Amor with his bow in his hand grabs his arrow sleeve, in the departure where a naked Venus is in bed with Mars dressed in his armor. In the background a glimpse to a garden. Copy to the print of Houbraken from part 2 of a series of prints with emblems. Northern Netherlands paper etching / engraving Mars and Venus as lovers

Allegory on the observation, Jan Saenredam, After Hendrick Goltzius, 1616 print A spectacular artist paints a naked woman in the open air. The model sits on her knees on the floor and looks at itself in a mirror that is stopped by a putto. Behind the donkey a doctor who looks at a urinal and a two men with astrolabium and passer on a globe. On the right in the foreground are various measuring instruments. In the front of a cat and back right an eagle. Under the performance the Latin translation of: I know from experience that this does the viewer both angry and pleasure. paper engraving looking in the mirror; contemplation of own beauty. model, sitter ~ painting - CC - out of doors. cat. drawing, measuring, calculating (+ tools, instruments; laboratory equipment ~ scientific research)

The Martyrdom of Saint Andrew 1690-99 Michel Corneille the Younger. The Martyrdom of Saint Andrew. Michel Corneille the Younger (French, Paris 1642-1708 Paris). 1690-99. Etching; third state of three. Jean Mariette (French, Saint Benoît 1660-1742 Paris). Prints

Horatius Cocles, late 6th century BC Roman officer who defended the Pons Sublicius against the Etruscan army of Lars Porsena, Historical, digitally restored reproduction from an original from old times.

Allegory on the observation, Jan Saenredam, After Hendrick Goltzius, 1616 print A spectacular artist paints a naked woman in the open air. The model sits on her knees on the floor and looks at itself in a mirror that is stopped by a putto. Behind the donkey a doctor who looks at a urinal and a two men with astrolabium and passer on a globe. On the right in the foreground are various measuring instruments. In the front of a cat and back right an eagle. Under the performance the Latin translation of: I know from experience that this does the viewer both angry and pleasure. Print Maker: Northern Netherlands Figter Design by: Haarlem Publisher: Amsterdam paper engraving looking in the mirror; contemplation of own beauty. model, sitter ~ painting - CC - out of doors. cat. drawing, measuring, calculating (+ tools, instruments; laboratory equipment ~ scientific research)

Schut, Cornelis (I), Glorification of St. Lawrence, verso lower left - stamped, St. Lawrence stands on a cloud; he raises his hands upwards. The grid on which he was tortured is carried by one of the putti who surround him. Two putti hold a crown above his head., print, prints, height 184 mm, width 118 mm, South Netherlands, 1597-05-13 - 1655-04-29, print maker, printmaker, 1618 - 1655, paper, papier, etching, etsen

The Witch ca. 1500 Albrecht Dürer German. The Witch 391137

Venus, Jacob Matham (attributed to), after Hendrick Goltzius, 1585 - 1589 print The goddess Venus, sitting on a cloud. She is accompanied by Amor, with a bow and arch, his arrow sleeve next to him. Two pigeons in the air. Haarlem paper engraving (story of) Venus (Aphrodite)

Pluto, 1592 print Pluto, standing in a niche, a burning torch in his hands. This print is part of a series of eight prints of classical gods, based on paintings by Polidoro da Caravaggio on the facade of a Roman house, seen and checked by Goltzius in Rome. paper engraving (story of) Pluto (Hades), Dis Pater, Orcus

Antwerp, Wijngaerde, Frans van den, Thomas, Jan, Shepherdess and young man, verso - stamped, A shepherdess with bare chest looks over her shoulder at a man, who takes her hand., print, prints, height 153 mm, width 111 mm, Southern Netherlands, 1617-02-05 - 1678-09-06, print maker, printmaker, 1627 - 1678, paper, papier, etching, etchings, engraving, engraving (printing process), Work conception, after own design by, Publication (Event), Publication, 1614-07-08 - 1679-03-17, publisher

Pluto; Eight classic gods. Pluto, standing in a niche, a burning torch in his hands. This print is part of a series of eight prints of classical gods, based on POLIDORO DA CARAVAGIO paintings on the facade of a Roman house, seen and named by Goltzius in Rome.

Vatican City, Papal Court, Rome, Paoli, Giovanni Antonio de, Italy, Tempesta, Antonio, Varia tormentorum et supplicioru crudelium, Tortures suffered by Christian martyrs, Torture: piercing of the body, verso - stamped, Numbered bottom center: 471., print, prent, prints, prenten, height 194 mm, width 133 mm, Italian, 1555 - 1630-08-05, print maker, printmaker, 1565 - 1630, paper, papier, etching, etchings, Work conception, after own design by, Publication (Event), Publication, publisher, granter of privilege

The Flagellation, 1512. Albrecht Dürer (German, 1471-1528). Engraving;

Resurrection, from The Engraved Passion Made 1512 Germany. Engraving in black on ivory laid paper . Albrecht Dürer

Venus Whipping Cupid with Roses. Artist: Giovanni Luigi Valesio (Italian, 1583-1633). Dimensions: Sheet: 7 15/16 x 5 1/4 in. (20.2 x 13.4 cm). Date: early 17th century.In this print Venus's halfhearted efforts at disciplining her unruly son are undermined by a smiling satyr, the embodiment of lust. As the inscription states, love is not so easily chastised. Valesio, a poet as well as a prolific engraver who specialized in creating allegorical title pages, designed this work as one of a pair of love allegories. Museum: Metropolitan Museum of Art, New York, USA.

Lucretia and Sextus, Anonymous, After Cornelis Cort, After Titian, c. 1642 - Before 1691 print Sextus attacks Lucretia, who is naked in a four -poster bed, with a dagger and forces her to submit to him. paper engraving (story of) Lucretia

A 16th-century etching by Monogrammist AC depicting Saturn, highlighting mythological figure and symbolic attributes.

This 1520-1539 copper engraving by Giovanni Giacomo Caraglio depicts Hercules and Deianira, showing the mythological figures, interaction, and classical composition.

Marcantonio Raimondi after Raphael, God Appearing to Noah God Appearing to Noah

Allegory on The Hunt Allegoria della caccia, The Orion hunter carries Diana, the goddess of the hunt, on his back. Together they go hunting with hunting dogs. In the background Diana's nymphs, Orion hunting, Diana hunting, Giorgio Ghisi (mentioned on object), Italy, 1556, paper, engraving, h 333 mm × w 250 mm

Heinrich Aldegrever, Hercules Fighting with the Hydra of Lernea, 1550 Hercules Fighting with the Hydra of Lernea

Three Muses and a Putto with a Lyre, a cruciform composition, from a series of eight compositions after Francesco Primaticcio's designs for the ceiling of the Gallery of Ulysses (destroyed 1738-39) at Fontainebleau 1560s Giorgio Ghisi Italian. Three Muses and a Putto with a Lyre, a cruciform composition, from a series of eight compositions after Francesco Primaticcio's designs for the ceiling of the Gallery of Ulysses (destroyed 1738-39) at Fontainebleau 367599

Genius of the arts. A winged naked young man with a laurel wreath holds a sloped drawing book in his hand. A portion of a armor is visible behind him. For the young man on the ground, measuring instruments, an opened book with sheet music, a trumpet, a lute, a painting palette and a sculpture.

Neptune pursuing Coronis; Minerva interposes herself and turns Coronis into a crow 1724 Francisco Vieira de Mattos (Il Lusitano) The subject is drawn from Book II of Ovids epic poem, the Metamorphoses. The print is after a now-lost painting executed by Vieira in 1724 while in exile in Rome for his patron and friend, the Portuguese special envoy to the Vatican, Alejandro de Gusmäo. The print is dedicated to Gusmäo, whose name is inscribed on the plaque lower left. Preparatory drawings for the painting survive (British Museum, the Museu de Arte Antiga, Lisbon, the Academia de Ciências in Lisbon). The also provided the basis for the print.. Neptune pursuing Coronis; Minerva interposes herself and turns Coronis into a crow. Francisco Vieira de Mattos (Il Lusitano) (Portuguese, Lisbon 1699-1783 Lisbon). 1724. Etching. Prints

Titian, Amsterdam, Gunst, Pieter van, Mythological love stories, Rape of Proserpina, verso lower left - stamped, Pluto abducts Proserpina, the daughter of Ceres, with the help of the hellhound Cerberus. Cupid sits on Pluto's chariot., print, prent, prints, height 415 mm, width 281 mm, 1649 - 1731-05-22, print maker, printmaker, 1659 - 1731, paper, papier, engraving, engraving (printing process), Italian, 1488 - 1576-08-27

Pero sucks the chained Cimon in prison, Barthel Beham, 1525 print The story of Cimon and Pero or Caritas Romana is an example from the classical literature of the love of children for their parents. The father Cimon and his daughter Pero figure here in an allegory of youth and old age with a sexual approach. Nuremberg paper engraving But Suckling Cimon ('Roman Caritas')

Venice, Bembo, Giovanni, Fialetti, Odoardo, Scherzi d'amore, Scenes with Venus and Amor, Venus and Amor, verso - stamped, Venus sits by a tree with an arrow in her hand. Amor stands behind her. Their eyes meet. Italian verse in bottom margin., print, prints, height 177 mm, width 93 mm, Italian, 1573-07-18 - 1638, print maker, printmaker, 1617 - 1617, paper, papier, etching, etchings, 1543 - 1618, granter of privilege

. Two nymphs from the result of Diana. They stand next to a stream. One of the nymphs blank her pitcher in the stream. The print has a Latin caption.

Horatius Codes, 1586 print The hero Horace Cocles, a sword lifted in the right hand, a shield in the left hand. In the background you can see how he takes on the banks of the Tiber on his own against an entire army. Twice two verses in Latin under the performance. This print is part of a series of ten prints, consisting of an unnumbered title print, eight numbered representations of Helden and an unnumbered closing print. paper engraving Horatius Cocles at the Pons Sublicius: single-handed he keeps the Etruscans at bay while the bridge is broken down by the Romans behind him; he escapes by jumping into the Tiber

Woman as personification of love (caritas) with two children, Marcantonio Raimondi, After Rafaël, 1510 - 1527 print paper engraving Charity, 'Caritas'; 'Carití' (Ripa) ~ one of the Three Theological Virtues

Germany, Coornhert, Dirck Volckertsz., Amsterdam, Hondius, Hendrick (I), Cologne, Weerdt, Adriaan de, Triumph of Truth, Repentance brings truth to light and beholds God's justice, verso bottom center - stamped, Man tears his heart open. The personification of Truth (Veritas), a naked woman with a radiant sun on her forehead, emerges from the earth. Justice (Justitia) appears above man, with her attributes (scales and blindfold). Justice shows man a crucifix. When man shows remorse (Poenitens) for his sins, truth comes to light. Through repentance and truth, man now has a view of God's justice. The print has a Latin and a Dutch caption and is part of a series about the triumph of truth., print, prints, width 194 mm, height, 258 mm, Noord-Nederlands, 1522 - 1590-10-29, print maker, printmaker, 1566 - 1578, paper, etching, etchings, engraving, engraving (printing process), Work conception, Southern Netherlands, 1510 - 1590, after a design by, Publication (Event), Publication, Northern Net

Venus and Adonis. Adonis stands, with two dogs on the line, next to Venus sitting on a stone. She challenges his left leg to prevent him from going on hunting. Sloping landscape in the background.

Rape of a Sabine woman, rear view, print maker: Jan Harmensz. Muller, Adriaen de Vries, Louis Renard, 1708 - 1711.

Seated old shepard gesturing towards the sky and speaking to nude male surrounded by tools of measurement ca. 1500-1534 Marcantonio Raimondi Italian. Seated old shepard gesturing towards the sky and speaking to nude male surrounded by tools of measurement. Marcantonio Raimondi (Italian, Argini () ca. 1480-before 1534 Bologna ()). ca. 1500-1534. Engraving; second state of two. Prints

Three Muses seated below a flying putto who grasps a lyre with both hands, a cruciform composition, from a series of eight compositions after Francesco Primaticcio's designs for the ceiling of the Gallery of Ulysses (destroyed 1738-39) at Fontainebleau ca. 1560-69 Giorgio Ghisi Italian. Three Muses seated below a flying putto who grasps a lyre with both hands, a cruciform composition, from a series of eight compositions after Francesco Primaticcio's designs for the ceiling of the Gallery of Ulysses (destroyed 1738-39) at Fontainebleau 397747

Galatea standing in a water-chariot pulled by two dolphins, surrounded by tritons, nereids, and putti, three of which prepare to shoot arrows from above 1515-16 Marcantonio Raimondi Italian. Galatea standing in a water-chariot pulled by two dolphins, surrounded by tritons, nereids, and putti, three of which prepare to shoot arrows from above 416042

Bespotting, Agostino Carracci, After Correggio, 1587 print Christ, with crown and cloak, is shown to the people (in this case the viewer). On the right is Pontius Pilatus who gestures to Christ. Maria of grief collapses in the foreground and is supported by another woman. On the left a soldier. Text in STUDMARGE. print maker: Parmaafter design by: Italy paper engraving Pilate Showing Christ to the People, 'Display Christ', 'Here man' (John 19: 4-6)

Mucius Scaevola. Museum: National Gallery of Art, Washington DC. Author: Heinrich Aldegrever.

Coronis turned into a crow, Francisco Vieira de Mattos, 1724 print The Zeegeod Neptunus tries to move on to Coronis, the daughter of Coroneus. Minerva intervenes and turns Coronis into a crow, allowing her to fly away from Neptune. Amor flies at the top right. Portugal paper etching Coronis changed into a crow: to escape the love of Neptune, Coronis, daughter of Coroneus, is changed into a crow by Minerva (Ovid, Metamorphoses II 569). song-birds: crow

Near a ruin, Job sits on a dunghill. He is taunted by his wife, who stands beside him. On the left are three of his friends., Job on dung heap Patienta Job (title on object), print maker: Ignatius J. van Roy, (mentioned on object), after: Gaspar de Crayer, (mentioned on object), Southern Netherlands, 1594 - 1729, paper, engraving, h 464 mm × w 315 mm

A copper engraving by Giovanni Giacomo Caraglio from 1520-1539 depicting Bacchus and Erigone, showing mythological figures in narrative composition with detailed anatomy.

The young man at the lantern probably after Raphael (Bartsch 384) Marc Antoine Raimondi (1480-vers1534). The young man at the lantern probably after Raphael (Bartsch 384). Fight, chisel. 16th century.

Saint Sebastiaan, master of the dice, c. 1530 - c. 1560 print Saint Sebastiaan tied to a tree. A landscape and buildings in the background. paper engraving the martyr Sebastian; possible attributes: arrow(s), bow, tree-trunk. city-view, and landscape with man-made constructions

Apollo chasing Daphne who throws her arms up, in the background at right shows the moment she turns in a laurel, from The Story of Apollo and Daphne. Artist: Engraved by Master of the Die (Italian, active Rome, ca. 1530-60); Designed by Baldassare Tommaso Peruzzi (Italian, Ancaiano 1481-1536 Rome). Dimensions: sheet: 7 1/8 x 9 5/8 in. (18.1 x 24.4 cm) approximately. Series/Portfolio: The Story of Apollo and Daphne, series of four prints. Date: 1530-60.This print, the third in the series, depicts Apollo's vain pursuit. The verses at the bottom of the engraving describe, in a paraphrase of Ovid (Metamorphoses 1.527-30), how the wind further kindled Apollo's longing by lifting Daphne's garments to reveal her lovely limbs. In the background, Apollo finally grasps his love, but too late, for her father has answered her plea and transformed her into a laurel. Apollo vowed that the tree would henceforth adorn his lyre and provide a crown for victors. As Apollo is the god of poetry-a role allu

Ferdinand II (German Emperor), Venice, Sadeler, Marcus, Prague, Aegidius, Entombment of Christ, verso center - stamped, The body of Christ is supported by two angels. In the middle Mary Magdalene with an urn with holy oils., print, prints, height 128 mm, width 94 mm, South Netherlands, 1570 - 1629, print maker, printmaker, 1580 - 1629, paper, engraving, engraving (printing process), Publication (Event), Publication, German, 1614-04-11 - 1650, publisher, 1578-07-09 - 1637-02-15, granter of privilege

Susanna and the elders, Cornelis Schut (I), 1618 - 1655 print The two elders approach the half -undressed Susanna at the fountain. A jug with water on the ground has fallen over and runs empty. paper etching the elders spying upon Susanna

. Lot, accompanied by an angel, leaves the burning sodom. There are two daughters behind him. In the background his wife as a salt pillar. The seventh print of a 39-part series with the subject of people from the Old Testament.

Noord-Nederland, Wandelaar, Jan, Resurrection of Christ, verso lower left - stamped, The risen Christ stands on the edge of the opened tomb. An angel can be seen behind him. Some frightened soldiers are fleeing. Top right: page: 291., print, book illustration, prints, height 147 mm, width 81 mm, Noord-Nederlands, 1690-04-14 - 1759-03-26, print maker, printmaker, 1725 - 1725, paper, etching, etchings, engraving, engraving (printing process), Work conception, after own design by

The Passion: The Flagellation, c. 1480. Martin Schongauer (German, c.1450-1491). Engraving;

Copper engraving print by Marco Dente depicting Entellus and Dares from classical mythology, showing figures, gestures, and interaction, 1520-1525.

Rhetorica from The Seven Liberal Arts Sebald Beham German. Rhetorica from The Seven Liberal Arts. The Seven Liberal Arts. Sebald Beham (German, Nuremberg 1500-1550 Frankfurt). Engraving. Prints

This 1530 copper engraving by Lucas van Leyden depicts the mythological figures Mars, Venus, and Cupid, highlighting interaction, gestures, and symbolic representation of love and war.

Laocoön. Probably a drawing to a print. Leaf 63 Recto from a sketchbook with 91 sheets.

Melager gives Kop van Zwijn to Atalanta, Coenraet Decker, 1660 - 1685 print paper etching Meleager gives the head of the boar to Atalanta

Saint Jerome, Giulio Carpione, Italian, 1613 - 1678, Etching on paper, St. Jerome is shown kneeling in a landscape, seen frontally, extending his right arm down in a gesture of supplication. He is attended by seaphs., Verona, Italy, ca. 1650, Print, Print

Suicide of Lucretia, Claude Mellan, after Simon Vouet, 1624 - 1636 print paper engraving death of Lucretia: she commits suicide by stabbing herself

Woodcut by Albrecht Dürer, 1511, depicting Cain killing his brother Abel, illustrating the biblical story of fratricide from the Book of Genesis.

Cain kills Abel, Albrecht Dürer, 1511 print Cain raises an ax to beat Abel, who lies on the ground for him. Nuremberg paper the killing of Abel: Cain slays him with a stone, a club or a jaw-bone, alternatively with a spade or another tool as weapon

Bacchus and Ariadne, Arnold Houbraken, Anonymous, 1700 - 1750

Humidity overcomes the pride, Pieter Jalhea Furnius, 1550 - 1625 print The personification of humility (Tapinophosyne) is in her hands and a lamb on her lap with a yoke. She has put her foot on the personification of pride (Superbia) that lies on the floor in front of her. The print has a Latin caption and is part of a series about virtues and vices. paper engraving Pride; 'Superbia' (Ripa) ~ personification of one of the Seven Deadly Sins. Humility; 'Humiltí' (Ripa). one Virtue fighting against or treading upon one Vice

Heinrich Aldegrever (German, 1502-1555-1561), Hercules Fighting the Rivergod Achelus, 1550,

Marteld death of St. Laurentius, Lucas Vorsterman (I), after Peter Paul Rubens, 1621 print Antwerp paper engraving St. Laurence is roasted on a gridiron

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