Classical Mythology Art

Intricate engravings depicting mythological figures and narratives, showing themes of love and transformation with detailed, expressive human forms and rich allegorical elements.

De Hoorn of Abundance, Theodorus van Kessel, After Peter Paul Rubens, 1630 - 1660 print In a landscape under the trees there are two nymphs and a young woman in the Horn of Abundance. On the floor there is a monkey that gets a branch with apricots from one of the nymphs and a parrot is on the fruit that is bulging out of the horn. Antwerp paper etching / engraving 'Cornucopia', Horn of Plenty. ornamental birds. monkeys, apes. adult woman. other types of nymph(s)

Hercules Preventing the Centaurs from the Rape of Hippodameia, from The Labors of Hercules. Artist: Heinrich Aldegrever (German, Paderborn ca. 1502-1555/1561 Soest). Dimensions: Sheet: 4 1/4 x 2 3/4 in. (10.8 x 7 cm). Date: 1550.Although nothing is known of Aldegrever's training, his work shows the influence of contemporary Italian, Netherlandish, and German artistic productions. His engravings, which number nearly three hundred, resemble the fine and detailed manner of the Nuremberg Little Masters; many of his prints quote those of Dürer, Georg Pencz, Barthel and Sebald Beham, and Jacob Binck. Aldegrever's series the Labors of Hercules, of which these two works are part, is based on an anonymous Venetian set of woodcuts that also inspired a group of drawings by Dürer in 1511. Aldegrever illustrates two of the Labors, described in Ovid's Metamorphoses, which demonstrate the uncontrollable lust and violent nature of centaurs. One of the scenes shows Hercules's triumph over the centaur

Sine Cerere et Baccho Friget Venus Without Ceres and Bacchus Venus Grows Cold ca. 1597 Jan Muller Netherlandish. Sine Cerere et Baccho Friget Venus Without Ceres and Bacchus Venus Grows Cold 366421

Hercules Fighting the River-God Achelous, from The Labors of Hercules 1550 Heinrich Aldegrever German. Hercules Fighting the River-God Achelous, from The Labors of Hercules 428425

Jupiter verandert Io in een koe; De liefdes van de goden; Godenliefden.Juno caught Jupiter and Io. Jupiter has changed io in a cow. At the top right one putto. In the underpermarge Italian fresh in two columns.

Allegory of the Hunt; a hunter holding a large spear carrying a woman (Diana) on his shoulders; five hunting dogs in the foreground and a retinue of male and female hunters in the background 1556 Giorgio Ghisi Italian. Allegory of the Hunt; a hunter holding a large spear carrying a woman (Diana) on his shoulders; five hunting dogs in the foreground and a retinue of male and female hunters in the background 367530

Amor wears bundle arrows to his sleeve; Scenes with Venus and Amor (copies); Scherzi d'Amore. Venus and Amor in a landscape. Amor wears a bundle of arrows to his sleeve, which lies at Venus's feet. Italian verse in undermarge.

De Hoorn of Abundance, Theodorus van Kessel, After Peter Paul Rubens, 1630 - 1660 print In a landscape under the trees there are two nymphs and a young woman in the Horn of Abundance. On the floor there is a monkey that gets a branch with apricots from one of the nymphs and a parrot is on the fruit that is bulging out of the horn. Antwerp paper etching / engraving 'Cornucopia', Horn of Plenty. ornamental birds. monkeys, apes. adult woman. other types of nymph(s)

A first-half 16th-century copper engraving by Marcantonio Raimondi showing Mars, Venus, and Amor, illustrating classical mythological figures in Italian printmaking.

Adam and Eva seduced by the snake, Nicolas Bocquet, Nicolas Bocquet, After Rafaël, 1691 print paper etching / engraving Eve offers the fruit to Adam

Speculum Romanae Magnificentiae: Amphion and Zethus Tying Dirce to a Wild Bull The Farnese Bull 1581 Diana Scultori Italian This print comes from the museum’s copy of the Speculum Romanae Magnificentiae (The Mirror of Roman Magnificence) The Speculum found its origin in the publishing endeavors of Antonio Salamanca and Antonio Lafreri. During their Roman publishing careers, the two foreign publishers - who worked together between 1553 and 1563 - initiated the production of prints recording art works, architecture and city views related to Antique and Modern Rome. The prints could be bought individually by tourists and collectors, but were also purchased in larger groups which were often bound together in an album. In 1573, Lafreri commissioned a title page for this purpose, which is where the title ‘Speculum Romanae Magnificentiae’ first appears. Lafreri envisioned an ideal arrangement of the prints in 7 different categories, but during his lifetime, never appears to have offered one

Satyr and Nymph ca. 1500-34 Marcantonio Raimondi Italian. Satyr and Nymph 342628

Agostino Carracci, Venus or Galatea Supported by Dolphins, c 1590 1595 Venus or Galatea Supported by Dolphins

A young man, seated and playing the violin at centre, flanked by two woman holding flutes, another woman in the background ca. 1512-27 Marcantonio Raimondi Italian. A young man, seated and playing the violin at centre, flanked by two woman holding flutes, another woman in the background 342594

Hercules Squeezing Antaeus to Death, from The Labors of Hercules 1550 Heinrich Aldegrever German. Hercules Squeezing Antaeus to Death, from The Labors of Hercules 428423

Caution and justice, Cornelis Bos, after Maarten van Heemskerck, 1537 print Caution (prudentia) and justice (Justitia) sit side by side on a stone block. Prudentia looks at the mirror, a snake winds around her arm. Justitia is blindfolded and holds a sword and a road scale in her hands. paper engraving Prudence, 'Prudentia'; 'Prudenza' (Ripa) ~ one of the Four Cardinal Virtues. Justice, 'Justitia'; 'Giustitia divina' (Ripa) ~ one of the Four Cardinal Virtues

Italy, Perino del Vaga, Caraglio, Giovanni Jacopo, Loves of the Gods, The Loves of the Gods, Mars and Venus, verso - stamped, View of a bedroom where Mars and Venus are sitting on the bed, intimately entwined. On the bed lies a dog and on the floor lies Cupid. In the lower margin Italian verse in two columns., print, prent, prints, prenten, height 212 mm, width 136 mm, Italian, 1505 - 1565, print maker, printmaker, 1515 - 1565, paper, papier, engraving, engraving (printing process), Work conception, 1501 - 1547-10-19

Italy, Perino del Vaga, Caraglio, Giovanni Jacopo, Loves of the Gods, The Loves of the Gods, Venus and Cupid, verso - stamped, Venus lies naked on a bed. Cupid sits naked next to the bed. In the lower margin Italian verse in two columns., print, prints, height 213 mm, width 135 mm, Italian, 1505 - 1565, print maker, printmaker, 1515 - 1565, paper, engraving, engraving (printing process), Work conception, 1501 - 1547-10-19

De Madzin, Monogrammist AC (16th century), After Albrecht Dürer, 1554 print Rock landscape with three figures. Half -naked man with hands in her, wife with bare upper body sleeping and man with jug in the right hand. Low Countries paper engraving emotional illness, derangement, madness. (almost) naked ~ ascetic life

Venus Ent Amor, Venetian Agostino, After Giulio Romano, 1500 - c. 1536 print Venus is sitting on the edge of a rock, with her left hand she grabs the face of Amor. Amor holds a burning torch with both hands. On the right is a group of trees. Italy paper engraving / etching Venus and Cupid (Cupid not being mere attribute). attributes of Venus: torch

Hercules Killing the Lion. Medium: engraving. Museum: National Gallery of Art, Washington DC. Author: Master HVE.

Dream of Paris. Paris is sleeping next to a fountain, Mercury tries to wake him up. He points to the golden apple and the three goddess Juno, Minerva and Venus who are in conversation with each other.

Bacchus and Ceres Leaving Venus. Bacchus and Ceres leave Venus. Venus and amor are at a fire because they are cold. Illustration of the saying "Sine Cerere et Baccho Friget Venus" (without Ceres and Bacchus, Venus has cold), or without food and wine freezes love.

Honor and wealth (Honor / Opulentia), Hendrick Goltzius, 1582 print Kissing each other naked man and woman, sitting in landscape on the rug draped on the floor. She holds a cup with coins in hand. Print from a series of four. Two lines of Latin and two lines of Dutch under each print from this series. paper engraving Wealth (opulence) as Roman personification. Honor, Glory; "Ampiezza della glory, 'Gloria', 'Glory of Prencipa,' Gloria and honor, 'Honore', 'Sublimatí della glory' (Ripa)

Apollo and Daphne; The loves of the gods; Gods loved ones. The naked Apollo chases the fleeing Daphne. Her arms raised already get branches and leaves. A river god is located in the foreground. In underwear Italian verse in two columns.

Two Male Nudes Gesturing in a Landscape. Dated: c. 1537. Dimensions: overall: 27 x 17 cm (10 5/8 x 6 11/16 in.). Medium: engraving on laid paper. Museum: National Gallery of Art, Washington DC. Author: DOMENICO BECCAFUMI.

Attributed to Giulio Bonasone (Italian, ca. 1510 - after 1576). Cupid and Ceres, 1550. Engraving.

Venus, Jan Saenredam, after Hendrick Goltzius, 1596 print In the midst of recreationing figures on a field, the naked Venus is a ruler about the kingdom of love on a pedestal. Venus holds a burning heart in her hand. Next to her is Amor with a bow and arch. In the foreground is a minnekozend pair in the grass. In the air the symbols of the constellations Libra (left), bull (center) and of Venus (right). paper engraving (story of) Venus (Aphrodite). (story of) Cupid, Amor (Eros). open-air recreation. lovers; courting, flirting

Hekabe with three Trojan women, Georges Le Juge, 1648 - 1671 print paper engraving (story of) Hecuba

Germanic family on yacht, figura IV. Germanic family hunting. From: Philippus Cloverius, Germaniæ antquæ libri Tres, LOWS (i) Elzevier, Leiden, 1616. Lib. I, PAG. 148, Figura IV.

Arion and a Nereïde. Arion sitting on a dolphin, with a lira da braccio (a kind of violin) in one hand and a bow in the other. A nereïde on a dolphin with an anchor in her hand behind him.

Allegory of science, monogrammist ZBM, 1557 print A female figure keeps her own eyes open with her fingers. With her right hand she opens a box with books, snakes and a bat. Behind the coffin is a second woman with a burning torch: the light of the truth. On the right is a devil. Above a part of a wall painting with signs of the zodiac and gods. Italy paper etching Knowledge; 'Cognitione', 'Cognitione delle cose' (Ripa). zodiacal signs of the winter season. chest, coffer. snakes

Caution and justice. Caution (Prudentia) and Justice (Justitia) are side by side on a stone block. Prudentia looks at herself in the mirror, a hose winds around her arm. Justitia is blindfolded and holds a sword and a road scale in her hands.

Goltzius, Hendrick, Haarlem, Matham, Jacob, The Sins, Envy (Invidia), verso lower left - stamped, Envy personified; an old female figure with snakes for hair, gnawing on a heart and with a snake in her hand. Next to her a dog., print, prints, height 216 mm, width 144 mm, Noord-Nederlands, 1571-10-15 - 1631-01-20, print maker, printmaker, 1585 - 1589, paper, papier, engraving, engraving (printing process), Work conception, 1558-01 - 1617-01-01, after a design by, Publication (Event), Publication, publisher

A copper engraving by Marcantonio Raimondi created around 1508 depicting Mars, Venus, and Amor, illustrating early 16th-century Renaissance mythological subjects.

Copper engraving by an unknown artist depicting young and old bacchants, created between 1515 and 1550, showing ritualistic Dionysian celebration.

Neptune and Cybele. Artist: After Peter Paul Rubens (Flemish, Siegen 1577-1640 Antwerp); Pieter de Jode II (Flemish, 1606-ca. 1674). Dimensions: Sheet (Trimmed): 17 1/16 × 12 7/16 in. (43.3 × 31.6 cm). Publisher: Gillis Hendricx (Flemish, active 1640-1677). Date: 1640-74. Museum: Metropolitan Museum of Art, New York, USA.

. In the midst of recreating figures on a field, the naked Venus is as a ruler about the kingdom of love on a base. In her hand, Venus holds a burning heart. In addition to her, Amor stands with arrow and bow. In the foreground is a minne couple in the grass. In the air the symbols of the constellations scale (left), bull (center) and from Venus (right).

The Alliance of Bacchus and Ceres 1610-42 Pierre Brebiette French. The Alliance of Bacchus and Ceres 333895

A satyr fighting for a nymph, after Francia ca. 1510-20 Marcantonio Raimondi Italian. A satyr fighting for a nymph, after Francia 342629

Susanna and the Two Elders, Print made by Richard Brookshaw, 1736-1804, Published by Henry Parker, 1725-1809, British, undated, Mezzotint and etching on moderately thick, moderately textured, cream laid paper, Sheet: 14 3/4 x 10 15/16 inches (37.4 x 27.8 cm), Plate: 13 15/16 x 9 7/8 inches (35.4 x 25.1 cm), and Image: 12 11/16 x 9 7/8 inches (32.3 x 25.1 cm), bathing, beards, elders, fountain, garden, gesture, lust, men, nude, putti, religious and mythological subject, stairs, the elders spying upon Susanna, the story of Susanna and the elders (in which the youth Daniel intervenes on behalf of Susanna) (Daniel 13), togas, urn, voyeurism, water, woman

Copper engraving by Lucas Hugensz. van Leyden titled 'Cain Beats Abel', created in 1529, depicting the biblical story of Cain killing Abel.

Italy, Venice, Fialetti, Odoardo, Scherzi d'amore, Scenes with Venus and Amor (copies), 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 160 mm, width 86 mm, Work conception, Italian, 1573-07-18 - 1638, after print by, 1617 - 1617, paper, etching, etchings, print maker, printmaker

Venus and Amor, accompanied by Ceres and Bacchus. Imagination of the saying 'Sine Cerere et Baccho friget Venus' (without bread and wine love freezes), Ceres, Bacchus and Venus., print maker: Pieter van der Plas (II), Northern Netherlands, 1687 - 1708, paper, engraving, etching, h 166 mm × w 126 mm

Lucretia en Sextus Tarquinius, Heinrich Aldegrever, after Georg Pécz, 1539 print Lucretia naked sitting on her bed. She is held on her arm by the also naked Sextus Tarquinius, who has a sword in his left hand. He threatens to kill her if she doesn't give him to him. Germany paper engraving the rape of Lucretia: Sextus Tarquin threatens her with a dagger or a sword

Lot and his daughters; Lascivie. Lot sitting on a rock. His two daughters drank him and seduce him.

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

Hercules and Omphale 1590 Anton Eisenhoit. Hercules and Omphale 652707

Cristofano Robetta, Allegory of Carnal Love Allegory of Carnal Love

Battle of Love and Pan 1715-96 Jean Michel Liotard Swiss. Battle of Love and Pan. Jean Michel Liotard (Swiss, Geneva 1702-1796 Geneva). 1715-96. Etching and engraving. Prints

Wedding party of Amor and Psyche (judge part), Diana Mantuana, After Giulio Romano, 1613 print In a basin for a cave, Mars and Venus are washed by eight putti. print maker: Mantuaafter painting by: Mantuapublisher: RomeRomeMantuaItaly paper engraving / etching marriage of Cupid and Psyche

Satyr Flogging a Nymph Satyr Whipping a Nymph. 1557 - 1600. Carracci, Agostino, 1557-1602. Prints. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection

Amor and three putti. Amor, with an arrow in his right hand, is ceased by three winged putti. In the foreground are a bow and an arrow sleeve. In the background a landscape with Apollo and Daphne.

Satyr Admiring Nymph, 1557 - 1600, Engravings, 6 3/16 x 4 3/4 in. (15.7 x 12 cm), Paper / Sheet 6 3/16 x 4 3/4 in. (15.7 x 12 cm), Material Cream laid

H. Sebastiaan. Amor draws an arrow from the body of the H. Sebastiaan. Left in the foreground is its arrow sleeve. In the margin an assignment and below that a two-person caption in Latin.

Two Fighting Beggars 1612-16 Jacques Bellange French. Two Fighting Beggars 369059

A first-half 16th-century copper engraving by Marcantonio Raimondi depicting a woman with the moon, showcasing early Italian engraving and mythological imagery.

A 16th-century copper engraving by Marcantonio Raimondi showing a young and old shepherd, emphasizing figures, gestures, and detailed pastoral landscape.

Venus looks at Amor making a bow; Scenes with venus and amor; Scherzi d'Amore.venus and Amor in a Landscape. Venus is Sitting in front of a Rock Wall and looks at Amor Who Makes His Own Bow.

Hercules is struggling with Antaeus, Agostino Veneziano, After Marcantonio Raimondi, After Rafaël, After Anonymous, 1500 - c. 1536 print Hercules holds Antaeus for his waist. Because Antaeus was invincible as long as he stayed in contact with the earth, Hercules lifted him off the ground. Left are the lion sheet and the club of Hercules. On the right in the background a decayed antique temple. Italy paper engraving / etching the giant Antaeus is lifted in the air and crushed to death by Hercules

Venus and Amor spied by a Sater. The naked Venus is located in a landscape with the kneeling amor next to her. Upstairs hangs a cloth over two branches of a tree. Venus and Amor are spied by a Sater who hides himself behind a tree.

Antwerp, Wierix, Johannes, Examples of love and lust personified by Venus, Amor mutuo, Profane love, verso under - stamped, Venus is embraced by Bacchus, behind them stands Amor. Bacchus points to a wine barrel, Venus to a richly laid table., print, prints, height 81 mm, width 50 mm, Southern Netherlands, 1549 - 1618, print maker, printmaker, 1600 - 1600, paper, engraving, engraving (printing process), Work conception, after own design by, Publication (Event), Publication, publisher

The Expulsion from Paradise, from The Small Passion 1510 Albrecht Dürer German. The Expulsion from Paradise, from The Small Passion 388038

Wrong conviction alienates the world of truth, Dirck Volckertsz. Coornhert, After Hendrick Goltzius, 1575 - 1581 print A man with a fool is the personification the foolish world (Mundus Fascinatus). He is enchanted by wrong conviction (Opinio), a woman with two glasses on the forehead. She reads from a book magic formulas. A magic circle has been drawn around the foolish world with the symbols of the seven planets, as well as a holy water brush, a convex mirror and a burning candle. The personification truth (Veritas) tries to help foolish world, but is attacked with a sword by the enchanted foolish world. In the background, justice falls down from a rock. The print has a Latin and a Dutch caption and is part of a four -part series on the subject of how wrong conviction the world is ruining. paper etching / engraving Opinion. Truth; 'Verití' (Ripa). fool, simpleton, numskull. Folly, Foolishness; 'Pazzia', 'Sciocchezza', 'Stoltitia' (Ripa). witchcraft, sorcery. Justice, 'Justitia'; 'Gi

Schut, Cornelis (I), Christ Child with Victory Banner, verso lower left - stamped, The Christ Child holds a victory banner. He is surrounded by putti and cherubs., print, prent, prints, height 68 mm, width 55 mm, South Netherlands, 1597-05-13 - 1655-04-29, print maker, printmaker, 1618 - 1655, paper, papier, etching, etsen, Work conception

The Ecstasy of Mary Magdalene, 1501-4. Albrecht Dürer (German, 1471-1528). Woodcut;

Rubens, Peter Paul, Ghent, Spruyt, Philippe Lambert Joseph, Boreas abducts Oreithyia, verso - stamped, Boreas, the north wind, abducts Oreithyia, the daughter of a king of Athens. Four putti are flying below., print, prints, height 317 mm, width 284 mm, South Netherlands, 1727-04-03 - 1801-05-05, print maker, printmaker, 1747 - 1801, paper, papier, etching, etchings, 1577-06-28 - 1640-05-30

Venus in love in Athena.

Furnius, Pieter Jalhea, Seven Deadly Sins, Envy, verso - stamped, The female personification of Envy (Invidia) is accompanied by a large dog and holds a heart in her hand that she is going to eat. Snakes are wriggling on top of her head. In the background, on the right, there is a devilish beast and on the left, there is a fight. The print has a one-line Latin caption and is part of a series of prints about the seven deadly sins., print, prints, height 204 mm, width 255 mm, 1540 - 1626, print maker, printmaker, 1550 - 1625, paper, papier, engraving, engraving (printing process)

Giovanni Antonio da Brescias 'The Scourge' (1509) is a copper engraving depicting a figure being scourged, emphasizing posture, anatomy, and the depiction of pain.

Somer, Paul van (II), Playing putti, Putti trying to ride a goat, verso lower left - stamped, A putto is thrown from its back by a goat. Another putto tries to restrain the animal. A few others run away in fright or recoil., print, engraving, prints, engravings, No. 91, verso lower center - handwritten in pencil, height 62 mm, width 108 mm, Dutch, 1659 - 1704, print maker, printmaker, 1670 - 1697, paper, papier, etching, etchings, Work conception

America, Crispijn van de Passe (i), c. 1589 - c. 1611 print The female personification of the continent America, amid wild animals. She is wearing a fee and holds a bow in one hand and a chopped head in her other hand. A man, dressed in a fence and cloak, offers her even more heads. Scenes can be seen in the background that supposed horrific habits of the original population of America. A woman is sacrificed to the left in the background. Right in the background heads that are striking are spied. In the margin a six -line caption, in three columns, in Latin. Cologne paper engraving America represented allegorically; 'America' (Ripa). human sacrifice ~ non-Christian religions. American Indian religions. ritual practices ~ American Indian religions. dangerous wild animals ~ restraint of animals. Native peoples of the Americas

Jupiter and semele. Jupiter loves semal at the foot of a tree. They are both on Jupiters eagle. Links Amor with the lightning bolt of Jupiter. In the background the sea.

Jupiter, from The Seven Planets. Artist: Heinrich Aldegrever (German, Paderborn ca. 1502-1555/1561 Soest). Dimensions: Sheet: 3 13/16 × 2 9/16 in. (9.7 × 6.5 cm). Series/Portfolio: The Seven Planets. Date: 1533. Museum: Metropolitan Museum of Art, New York, USA.

Adam and Eva. Adam and Eve in the Hof van Eden surrounded by animals. Eva takes care of the forbidden fruit from the snake.

Allegorical representation with Neptunus and Cybele, Pieter de Jode (II), After Peter Paul Rubens, 1628 - 1670 print Allegorical representation with Neptune (as personification of the sea), seen on the back, and cybele (as personification of the earth). Cybele is standing next to a curnucopia and is crowned by an angel with a laurel wreath. In the foreground a river god, blowing on a shell. With an empty margin under the performance. Antwerp paper engraving / etching specific aspects, allegorical aspects of Cybele; Cybele as patroness. specific aspects, allegorical aspects of Neptune; Neptune as patron

Acht kinderen spelen blindemannetje.Eight children play blind man with a fountain. Two of the children make noise with drumsticks and a tambourine. There is a bell on the ground.

Cleopatra. Artist: Jan Muller (Netherlandish, Amsterdam 1571-1628 Amsterdam); Adriaen de Vries (Netherlandish, The Hague ca. 1545-1626 Prague). Dimensions: 38.1 x 25.5 cm. Publisher: Ludovici Renard. Date: ca. 1623. Museum: Metropolitan Museum of Art, New York, USA. Author: Adriaen de Vries. Jan Muller.

Venus and Adonis, Jeremias van Schaak, 1690 - 1727 print Venus kneels at Adonis. Her empty car is waiting in the clouds. Northern Netherlands paper Venus and Adonis as lovers

Goltzius, Hendrick, Haarlem, Matham, Jacob, The Sins, Sloth (Acedia), verso lower left - stamped, The personified Sloth; a female figure with a snail, next to her a reclining donkey., print, prints, height 216 mm, width 144 mm, Noord-Nederlands, 1571-10-15 - 1631-01-20, print maker, printmaker, 1585 - 1589, paper, papier, engraving, engraving (printing process), Work conception, 1558-01 - 1617-01-01, after a design by, Publication (Event), Publication, publisher

Priapus, Arnold Houbraken, 1688 - 1700

Italy, Dente, Marco, Antique reliefs, Galatea escapes from Polyphemus, verso sheet - stamped, Galatea, riding on a shell pulled by dolphins, escapes from the cyclops Polyphemus. Polyphemus sits on a rock with a stick and a panpipe in his hands. Cupid flies above Galatea., print, engraving, prints, height 110 mm, width 175 mm, Italian, 1486 - 1527, print maker, printmaker, 1498 - 1532, paper, papier, engraving (printing process)

Italy, Raphael, Cortona, Pietro da, Rome, Peruzzi, Baldassare, Mulinari, Stefano, Ceiling paintings of the Loggia di Galatea in the Villa Farnesina in Rome, Saturn, Venus and Cupid, verso - stamped, Saturn with his scythe and corn is accompanied by Venus and Cupid. Below them is the sign of the zodiac Pisces. In the lower margin a two-line verse in Italian., print, prent, prints, height 305 mm, width 219 mm, Italian, 1741 - 1790, print maker, printmaker, 1751 - 1790, paper, papier, etching, etchings, aquatint, color printing, 1481 - 1563-01-07, after a painting by, 1596 - 1669-05-16, intermediary draughtsman, after a drawing by, 1483-04-07 - 1520-04-07

Agostino dei Musi after Raphael, Two Loves Two Loves

Saint Michael Discomfiting the Evil Spirits. Philippe Thomassin (France, active Italy, 1562-1622). France, 1618. Prints; engravings. Engraving

Apollo and Daphne (reverse copy). Artist: After Barthel Beham (German, Nuremberg ca. 1502-1540 Italy). Dimensions: Sheet: 3 1/8 in. × 2 in. (7.9 × 5.1 cm). Date: n.d.. Museum: Metropolitan Museum of Art, New York, USA.

. An Oreade, with glasses on the nose, removes a thorn from the foot of a Sater. The Sater is supported by a female and a young Oreade. At the bottom of the margin a text line in Latin.

Three muses and a putto with cymbals; Ceiling paintings in the d'ulysse gallery in Fontainebleau. Three musicals with musical instruments. Above a putto with cymbals.

The Judgment of Paris; he is sitting at left with Venus, Juno and Pallas Athena, a winged victory above; in the upper section the Sun in his chariot preceeded by Castor and Pollux on horseback; at lower right two river gods and a naiad above whom Jupiter, an eagle, Ganymede, Diana and another Goddess ca. 1510-20 Marcantonio Raimondi Italian A masterpiece of Renaissance printmaking, the Judgment of Paris represents a highpoint in the collaboration between the painter Raphael and the great Italian engraver Raimondi. This scene is one of a group of exceptional compositions Raphael designed specifically for Marcantonio to engrave, which, according to Giorgio Vasari, 'amazed all of Rome.' It demonstrates the meticulously ordered systems of hatching that Marcantonio developed to achieve the richest possible tonal effects, which was to influence generations of engravers. Depicted here is the incident that sparked the Trojan War: Paris being forced to decide which goddessJuno, Minerva, or Ven

Expulsion from Paradise, Johann Sadeler (I), Claes Jansz. Visscher (II), 1575

Fall, 1559 print Adam and Eva standing under the tree of knowledge of good and evil, above their heads, the snake winds. Several animals such as a lion, boar, dog, cat and peacock around them. They both hold the apple that has just been picked. paper engraving Temptation and Fall (scenes with both Adam and Eve). Adam and Eve holding (and possibly eating) the fruit

Lucretia Made 1569 France. Engraving on paper . Étienne Delaune

Allegory on transience (Vanitas). Allegory on transience with three children from whom a soap bubbles blows. Another holds a parrot and a third plays a lute. In the foreground is a skull.

Lucas van Leyden, Lot and His Daughters, 1530 Lot and His Daughters

Hercules beats Antaeus; Working from Hercules. Hercules, seen from the front, standing with his knots supporting his right side. In addition, hercules that lift the giant antaeus that loses his power. Behind it a man who retains a leaving horse. Sixth print from a series of thirteen with the works of Hercules.

Goltzius, Hendrick, Amsterdam, Muller, Jan Harmensz., Creation of the world, Fourth day of creation: creation of sun, moon and stars, verso - stamped, The fourth day of creation, on which the sun and the moon were created and a separation was made between day and night. The sun is depicted by Apollo as a sun god with a bow and quiver. Time, with a clock on her head, holds his cloak. On the right the moon, as the moon goddess Diana. Behind her a black woman with a starry cloak as a personification of the stars. After the Bible text in Gen. 1:14-19., print, prints, diameter 270 mm, Northern Netherlands, 1571 - 1628, print maker, printmaker, 1589 - 1589, paper, engraving, engraving (printing process), Work conception, 1558-01 - 1617-01-01

Venus and Mars; VENVS ET MAVORS. Mars, dressed as a soldier, lies in the arms of a naked Venus. Two turtle doves and cupid, arrow and bow are flying in the air. At the top of the print in an oval framework The portrait of the Roman poet Lucretius. Upstairs in the corners: on the left the personification of abundance, on the right the personification of cruelty. At the bottom of the corners: on the left a party, right the war. The print has a Latin caption.

Vulcan seated forging Cupid's wing 1500-1510 Nicoletto da Modena Italian. Vulcan seated forging Cupid's wing 400829

The birth of Bacchus, from 'The Loves of the Gods' ca. 1531-76 Giulio Bonasone Italian. The birth of Bacchus, from 'The Loves of the Gods' 392654

A blindfolded Cupid with a torch for a couple in festive clothing; The masquerades. A blindfolded Cupid keeps a burning torch for a man and a woman in festive clothing that stands hand in hand next to him. This print is part of a series of ten numbered prints: a title print and nine prints on which two or three masked and / or declared figures are displayed for feet.

Design for Title-Page 18th century Anonymous, German, 18th century German. Design for Title-Page 383155

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