Historical Copper Engravings

Illustrations of significant events and figures, showcasing intricate details and narrative depth, with a focus on classical themes and historical contexts.

Departure of the Engel Rafaël, Anonymous, After Maerten de Vos, 1585 print The Engel Rafaël is familiar with Tobit, Anna, Tobias and Sara. They kneel on the floor. Tobit has returned home and is received on the left by his parents Tobit and Anna. Even further in the background the reception of Tobias' wife Sara. On the right in the house the healing of Tobit. At the bottom of the margin an explanatory text in Latin. To Tobit 11-12. This print is part of an album. paper engraving the meeting of parents and son ~ Tobias' return. the healing of Tobit: Tobias puts the gall of the fish on his father's eyes. Sarah's arrival ~ Tobias' return. the angel Raphael disappears into the sky

Copper engraving by Hieronymus Wierix, 1585, depicting Jonah's escape from God, showing the prophet being thrown into the sea with detailed figures and symbolic elements.

Flight from Jacobus II to Rochester and Paris, 1688-1691, 1691 print Sheet with four performances of the flight from Jacobus II to Rochester, crossing of the canal and departure from Boulogne to Paris, December 28, 1688 - January 2, 1689. Plate 6 in a series of 20 records about the Glorious Revolution in England in the years 1688 -1691. Northern Netherlands paper etching traffic and transport Rochester. Boulogne-sur-Mer

Jona predicts the downfall of Nineve; History of Jonah; Thesaurus Sacrarum HistoriaRu M Veteris Testame N Ti, Elega N Tissimis Imaginibus Expressu M Excelle N Tissimoru M in Hac Arte Viroru M Opera: now N C Primu M Luce M Editus. Jonah stands on a square in Nineve and predicts residents the fall of their city. People kneel of horror and repentance. Under the show an explanatory text in Latin. Print is part of an album.

Copper engraving and etching by Dirck Volkertszoon Coornhert depicting Isaac demonstrating patience, created after 1540.

Copper engraving by Hendrick Goltzius depicting the martyrdoms of St. Thomas and St. Paul, showing figures, gestures, and narrative elements, produced around 1578.

Etching by Antonio Tempesta depicting multiple hunting scenes, created between 1600 and 1620.

Departure of the Engel Rafaël, Anonymous, After Maerten de Vos, 1585 print The Engel Rafaël is familiar with Tobit, Anna, Tobias and Sara. They kneel on the floor. Tobit has returned home and is received on the left by his parents Tobit and Anna. Even further in the background the reception of Tobias' wife Sara. On the right in the house the healing of Tobit. At the bottom of the margin an explanatory text in Latin. To Tobit 11-12. This print is part of an album. paper engraving the meeting of parents and son ~ Tobias' return. the healing of Tobit: Tobias puts the gall of the fish on his father's eyes. Sarah's arrival ~ Tobias' return. the angel Raphael disappears into the sky

Copper engraving published by Raphael Sadeler the Elder depicting Joseph thrown into the fountain and the finding of the baby Moses, created between 1580 and 1632, illustrating 16th- and 17th-century European religious art and biblical narratives.

Copper engraving by Zacharias Dolendo depicting multiple scenes from the life of Tobias, created in the first half of the 17th century.

Ninus van Nineve as the first king from the vision of Daniel; Of the four monarchs; Rise of four world riches and four rulers from the vision of Daniel; Den Grooten Figuer Bibel (...). Ninus, founder of Nineve and infamed by a horse, drives a flag in his hand with the image of a lion (Babylonia). The horse tramples king oxyartes from Bactri. A cityscape in the background. In addition to ninus, a lion with eagle wings emerged from the sea, a reference to a vision of Daniel about the rise of four kingdoms in the world. Under the show a reference in Latin to the Bible text in. 7. This print is part of an album.

David beats the bear and the lion, 1643 print David grabs a bear with his bare hands, who attacks his herd. At his feet is a killed lion. Under the show a reference in Latin to the Bible text in 1 SAM. 17:34. This print is part of an album. Amsterdam paper engraving David kills a lion and a bear (or tells Saul about it)

Passion show in list of birds and shell; Passion shows in lists with animals.

Copper engraving and etching by Adriaen Collaert depicting the Last Judgement, created between 1560 and 1618.

Atrocities by King Jacobus II and Comte d'Avaux in Ireland, 1689; Wreetheyt Vande King James Ende Grave D Avaux Aende Irish Protestants; Englants stage, imagending the quick from Jacobus II, king of Great Brittanyen etc. with DESSELFS arrival in Yrlant and further events, I part. Atrises operated by the army under King Jacobus II and Comte d'Avaux to the Protestants in Ireland, 1689. Caught are hung in trees, in the background burning villages. Plate R in the 'Engeants stage' series over the glorious revolution and events from the previous years 1685-1689 (first part). With captions in Dutch and French.

Copper engraving and etching by Claudine Bouzonnet-Stella from 1667 featuring pastoral scenes with figures in rural settings.

An etching by Angiolo Falconetto depicting a battle scene with a satyr interacting with a young woman and putti. Created between 1507 and 1567, combining mythological and martial elements.

Etching and copper engraving by Dirck Volkertszoon Coornhert depicting the story of Loth, produced between 1540 and 1580, illustrating biblical narrative and figures.

Copper engraving by Johann Sadeler the Elder from 1586 depicts the history of the family of Seth, emphasizing genealogical figures, biblical narrative, and period attire.

Orpheus in the underworld: the Element Vuur, Abraham van den Hecken, c. 1620 - 1655 print Orpheus with his winch for Pluto and his wife Prosperina in the Hades, with the Tartarus in the background with Sisyphus with a rock and Ixion on a burning wheel, as an allegory on the element of fire. On the right watering with burning torches. Print from a series of four. Low Countries paper etching / engraving fire (one of the four elements). Hades, the Underworld. Tartarus (and the condemned assigned there). Sisyphus pushing his boulder uphill or carrying it on his shoulders. Ixion on a burning wheel. Orpheus playing the lyre. Orpheus descending into Hades with his lyre in his hand

The Triumph of Time from The Triumphs of Petrarch. Artist: Attributed to Dirk Volckertsz Coornhert (Netherlandish, Amsterdam 1519/22-1590 Gouda). Dimensions: Plate: 9 x 6 15/16 in. (22.8 x 17.6 cm)Sheet: 13 7/16 x 10 7/16 in. (34.1 x 26.5 cm). Date: ca. 1548-49. Museum: Metropolitan Museum of Art, New York, USA.

Rover en de Dood, Conrad Meyer, after Rudolph Meyer, 1650 print A Landrover attacks a group of travelers with its sword. Behind a tree is death with hourglass. In the background, death for a robber points to a wandered on an hourly with an hourglass on the branch where the dead is hanging. paper etching dance of Death; Death together with one or more human beings. personifications of Death; 'Morte' (Ripa)

The Babylonian Whore, from The Apocalypse. Facsimile n.d. Albrecht Dürer German. The Babylonian Whore, from The Apocalypse. Facsimile 388484

Cloelia crosses the Tiber, 1653 - 1654 print Cloelia escapes with a friend to Rome by crossing the Tiber on horseback. Various women watch on the bank. In the foreground, Romulus and Remus are suckled by a wolfin. In addition, the river god of the Tiber with the horn of abundance is over his shoulder. His arm rests on a tilted urn from which water flows. With a caption in three columns in Latin. The print is part of an album. paper engraving (story of) Cloelia. (story of) Romulus and Remus. river-gods. 'Cornucopia', Horn of Plenty

Woodcut by Nicolas Prévost illustrating biblical narratives with multiple figures and religious symbols, created between 1590-1600.

Copper engraving and etching by Johann Sadeler the Elder depicting scenes from the history of the first people, created in 1583, illustrating 16th-century European biblical art and early human life.

Phaeton in the Helios Palace; Ovidii Metam. LIB. II; Ovidius' metamorphoses; Reflections by P. Ovidius Naso. In the Palace of the Sun God Helios, Phaët asks proof that the sun god is his father. Phaëton kneels for his father, sitting on a throne under a canopy. To prove his fatherhood, Phaeton may ask what he wants. The boy then asks the solar car. In the foreground possible the personifications of spring and summer. Under the show twice two fresh rules in Latin. The print is part of an album.

Vertumnus en Pomona / Dood van Pentheus / Jupiter, Amor en Venus; Mythologische en allegorische voorstellingen.Three performances on a leaf. Above: Vertumnus and Pomona. Vertumnus approaches Pomona in the form of an old woman. In addition to pomona a basket with fruits. Middle: three bacchants including his mother tearing pentheus and are tackling him with vines. He misses an arm. This was the punishment that Bacchus gave him because he didn't honor Bacchus. Below: Jupiter looks from the clouds to Amor, which is a sacrificed book with a sacrifice pit. On the right is Venus next to her car.

Print (France)

Cain kills Abel, surrounded by various performances, Johann David Schleuen (I), After Daniel Nikolaus Chodowiecki, 1784 print Various performances contained in frameworks, with central Cain and Abel, surrounded by other images, with murder and killing innocent as a central theme. Numbered in the middle: 4. paper engraving / etching 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. Fates, Parcae (Moirae). beasts of prey, predatory animals: wolf

Discovering and dragging away the body parts of Slatius, Coorenwinder and Gerrits, 1623, 1623 print Discovering and dragging the body parts of Henricus Slatius, David Coorenwinder and Cornelis Gerrits, convicted conspirators against Maurits, executed in February, March and May 1623 in The Hague. The scenes numbered I-III of the find on May 16, 1623 by a plowing farmer of the buried body parts, opening the coffin and dragging back the bodies to the Galgenveld. Print of the upper half of the original - now cut in two - plate, without texts. With the inscription: Slatius, uyt comes the graff. Amsterdam paper etching arrest (of criminal). mutilation of the corpse

Job with ulcers covered; History of Job; Thesaurus Sacrarum HistoriaRu M Veteris Testame N Ti, Elega N Tissimis Imaginibus Expressu M Excelle N Tissimoru M in Hac Arte Viroru M Opera: now N C Primu M Luce M Editus. In heaven, Satan asks God or he may try Job. Then Satan deposits his calamity about Job. Job is sitting on the manure heap and its skin is covered with ulcers. His wife urges him to curse God, but Job does not do that. In the background the robbery of jobs cattle. Under the show a reference in Latin to the Bible text in Job 2. This print is part of an album.

Rubens, Peter Paul, Nattier, Jean-Marc, Photographic reproduction of an engraving of The Coronation of Maria de'Medici at Saint-Denis by Jean-Marc Nattier, after the painting by Peter Paul Rubens, photograph, photo, reproduction, page, photos, photographically illustrated books, height 185 mm, width 345 mm, photographer, 1859 - 1864, photographic paper, photo paper, albumen print, albumine print, Work conception, French, 1685-03-17 - 1766-11-07, after a print by, South Netherlandish, 1577-06-28 - 1640-05-30

Bacchus en Ariadne / Bacchus heft zijn glas / Perseus en Andromeda; Mythologische en allegorische voorstellingen.Three performances on a leaf. Above: Bacchus Luchtkoost Ariadne. Middle: Bacchus lies a glass on a wine tube. Below: Amor Comfort Andromeda, which is chained to the rock. In the foreground the sea monster. In the background Perseus with the head of Medusa, the hairs of which change in coral.

. Needs leaves with four prints.

Blind lead the blind, 1643 print The blind Leidsman is about to step into a ditch and also takes his blind followers with him. The leader has a hurdy -gurdy under his cloak. A village can be seen in the background. The show is a imagination of the saying and the parable: if one blind leads the other, they both fall into a pit. The meaning is: when unacceptable advise other unquestioning, things go wrong. Under the show an explanation in French and in Dutch and a reference to the Bible text in Mat. 15:14. This print is part of an album. Amsterdam paper engraving the blind leading the blind (Matthew 15:14). proverbs, sayings, etc.

Card No. 43. In the middle part of the card, a composition illustrating a parable of the merciful Samaritan Schellenberg, Johann Rudolf (1740 1806)

Resurrection of civilis against the Romans, 69-70; Resurrection of civilis against the Romans. Claudius Civilis replenes against the Romans, during a feast in the forest. Upper: VI. D. LXXXIX. Against over Bladz. 166.

Adoniram's stoning; History of Jeroboam and Rechabeam; Historia Roboam et Jeroboam (...); Thesaurus Sacrarum HistoriaRu M Veteris Testame N Ti, Elega N Tissimis Imaginibus Expressu M Excelle N Tissimoru M in Hac Arte Viroru M Opera: now N C Primu M Luce M Editus. King Rechabeam sent Adoniram, his supervisor from the repair, to the rebellious Israelites. People stoning Adoniram, who holds his hand on a poor exchange, who he probably wanted to use when collecting taxes. In the background, King Rechabeam escapes in his carriage to Jerusalem. Under the show a reference in Latin to the Bible text in 1. 12. Print is part of an album.

Joseph's brothers with Benjamin for Joseph; History of Joseph; Historia Josephi (...); Thesaurus Sacrarum HistoriaRu M Veteris Testame N Ti, Elega N Tissimis Imaginibus Expressu M Excelle N Tissimoru M in Hac Arte Viroru M Opera: now N C Primu M Luce M Editus. Joseph's brothers have returned to Egypt and kneel for Joseph with their little brother Benjamin. He invites them to a meal. The brothers are opposite Joseph to the left. The continuation of the story can be seen in the background: the silver cup of Joseph is found in the Benjamin's pocket. Under the show a reference in Latin to the Bible text in Gen. 43. Print is part of an album.

Apollo kills Coronis; Ovidius' metamorphoses; Reflections by P. Ovidius Naso. Despite the Kraai Cornix warning, White Raven Corvus Apollo tells from his beloved Coronis. Since then, all ravens are black. God shoots the pregnant coronis with arrow and bow. Before her body was cremated, Apollo takes the child Asclepius from her belly. Under the show twice two fresh rules in Latin. The print is part of an album.

Four representations from classical history; Illustrations from classical history. Four representations from the classic history of one plate, numbered from XLIX up to and including lii and all has a caption. Top left: Alexander funeral. Bottom left: Been from Phocion collected. At the top right: death of Eurydice. Bottom right: Siege of Rhodes. Performances XLIX and L top right labeled: against overbagz. 13. Performances Li and Lii at the top right labeled: against overbagz. 32.

Copper engraving by Cornelis Cort illustrating Hercules preventing the abduction of Hippodamia and killing the Nemean lion with his hands, created in 1563.

Haying Farmers, Anonymous, Nicolas Bonnart (Fils), 1698 - 1762 print Numbered bottom left: 3. print maker: Francepublisher: Paris paper etching / engraving harvest. piling up ~ harvest. agricultural products and by-products: hay. hay-stack. agricultural implements: scythe. agricultural implements: pitchfork

(top left) Furia, (top right) Discordia, (bottom) Victoria, all illustrations from the IconologiaDeorum. Artist: Joachim von Sandrart, German, 1606-1688

Copper engraving and etching by Bernard Picart depicting the allegorical representation of the felicity of the regency, created in 1704.

Discovering, dragging away and hanging the body parts of Slatius, Coorenwinder and Gerrits, 1623, 1623 print Discovering, dragging away and hanging the body parts of Henricus Slatius, David Coorenwinder and Cornelis Gerrits, convicted conspirators against Maurits, executed in February, March and May 1623 in The Hague. Central the scenes numbered I-Vi of the find on 16 May 1623 by a plowing farmer of the buried body parts, opening the coffin, dragging back the bodies to the Galgenveld and hanging it on the wheel again. Two columns of text are printed on either side of the plant - sliced in two. With the inscription: Slatius, the graff / and vaert comes on this hey. Amsterdam paper etching / letterpress printing arrest (of criminal). mutilation of the corpse

Collection of gods on the Olympus (right part), Pietro Aquila, After Giovanni Lanfranco, 1660 - 1692 print Part of the ceiling decoration by Giovanni Lanfranco in the Villa Borghese in Rome. The central performance with the Greek gods on the Olympus. paper etching the Olympian gods together: Jupiter, Juno, Neptune, Ceres, Apollo, Diana, Mars, Venus, Mercury, Minerva, Vulcan, Vesta (or Bacchus)

Ruggiero and the army of Alcina, Daniel Nikolaus Chodowiecki, 1771 print Canto six from 'Orlando Furioso'. In the foreground, sitting on a turtle, the thick leader of the army of the sorceress Alcina. Different monstrous figures on horseback in the background. On the right is Ruggiero with his mythical horse Frontin. Nummered in the bottom left: 1. paper etching (scenes from) specific works of literature: Ariosto, Orlando Furioso. monsters of mixed human and animal shape; 'Mostri' (Ripa)

Judgment of Salomon, 1579 print King Solomon sits on his throne and felt his judgment. In front of the throne the two women who both claim the motherhood of the living child. The deceased child is on the ground. Solomon instructs the living baby to share in two to determine who the child's mother is. A man pulls his sword and grabs the child by the arm. Under the show a reference in Latin to the Bible text in 1 Kon. 3. Print is part of an album. paper engraving Solomon gives verdict; he commands a soldier to divide the living child in two

Abigaïl collects food; History of David and Abigaïl; Thesaurus Sacrarum HistoriaRu M Veteris Testame N Ti, Elega N Tissimis Imaginibus Expressu M Excelle N Tissimoru M in Hac Arte Viroru M Opera: now N C Primu M Luce M Editus. Abigair, Nabal's wife, let donkeys paint with loaves and jugs wine. She will bring the food to David. Abigaïl speaks with one of her servants, which is shepherd. Under the show a reference in Latin to the Bible text in 1 Sam. 25. This print is part of an album.

The reverse cart / the wheelbarrow surrounded. Leaf with 2 performances. Upstairs: A tractic coat is causing the children who were sitting on the ground. Below: a porter throws a wheelbarrow through which the children were sitting on the floor. Under each image a eight-line verse in two columns. Numbered at the top right: No. 112.

Copper engraving by Johann Sadeler the Elder from 1550-1600 depicting scenes from the history of Moses and Exodus, highlighting figures, gestures, and biblical narrative.

Adam and Eva eat the forbidden fruit; Paintings in the Loggia of Rafael; Imagins Veteris AC Novi Testamenti; Rafael Bible. Adam and Eve at a tree. Around the tree curls a hose with a man's head. Eva gives Adam an apple. Bible verse under the show. Print is part of an album.

Christian Helden, Andrea Andreani, After Battista Franco, 1610 print Under several figures in fight. On the right is death as a skeleton with a scythe in his hands. Above the standing Christ who crashes a kneeling woman. They are surrounded by cherubies. print maker: Italyafter design by: ItalyVaticaanstad paper adult Christ together with mortals. cherubs, i.e. children's heads with wings. Death as skeleton

Four representations of classical history in one plate, numbered XLIX through LII, all with captions Top left: Funeral of Alexander Bottom left: Bones of Phocion collected Top right: Death of Eurydice Bottom right: Siege of Rhodes Representations XLIX and L marked at upper right: Opposite page 13 Images LI and LII marked top right: Opposite page 32, Four representations from classical history Illustrations from classical history, print maker: Simon Fokke, (mentioned on object), Simon Fokke, (mentioned on object), Amsterdam, 1722 - 1784, paper, etching, h 223 mm × w 283 mm

Story with representations of murder and death penalty (F. 285.), Abraham Dircksz. Santvoort, 1667 print Story in eight scenes with some performances of murder and death penalty. Among other things, three murder in a bedroom. At the bottom right, a man hangs upside down on a gallows and a person is broken in the distance. At the top left: F. 285. print maker: Netherlandspublisher: Amsterdam paper etching death penalty, execution. murder. fighting

Interior of a tavern and a seated figure, Hendrick van Beaumont, 1696, Sheet 54 recto from a sketchbook with 91 sheets., draughtsman: Hendrick van Beaumont, 1696, paper

Agamemnon Refuses to Liberate Chryseis; Minerva Appears to Achilles; The Abduction of Briseis: Galerie d'Iliad, Palazzo Milzetti, Faenza, Felice Giani, Italian, 1758-1823, Pen and brown ink, brush and gray-brown wash over traces of graphite on white laid paper, In upper drawing, kneeling priest and companions at left; Agamemnon stands with two captive girls at right with ship in background. In center drawing, Achilles calmed by Minerva while draws his sword. In lower drawing, Achilles seated at left while Patroclus asks Briseis to follow two messengers of Agamemnon., Faenza, Italy, Italy, 1802-05, interiors, Drawing, Drawing

Judgment of Paris, Zacharias Dolendo (attributed to), 1580 - 1596 print In a forest landscape, Pallas, Juno and Venus are opposed to Paris with shepherd's staff and a ram next to him. Above them, Amor floats with a bow and arch on Paris. Mercury is hidden in a tree on the right. In the lower margin a four -line Latin text. Amsterdam paper engraving the Judgement of Paris (Mercury present)

Justice and Strength, in Two Octagons, Felice Giani, Italian, 1758-1823, Pen and dark brown ink, brush and greyish-brown wash over traces of graphite on textured laid paper, Top: woman, with civic crown shown holding sword and pair of scales, seated in apse, flanked by two putti; left one holds fasces, right one holds opened book, inscription below in brown ink: GIUSTI. Bottom: woman with helmet and seated in apse holds tree trunk, while seated and kneeling putto helps lower tree. Another putto, standing at right, holds shield showing representation of victorious lion over steer. Written below in brown ink: FORTEZA., Italy, 1812, figures, Drawing, Drawing

Absaloms revenge; From Ammon and Thamer; History of Tamar and Amnon; Den Grooten Figuer Bibel (...). With a dinner for the king's sons, Absalom has been killed his half-brother Amnon by his servants. Two men attacked Amnon with swords and kill him. The other king's sisters flights and leave left on their mules. Under the show a reference in Latin to the Bible text. Print is part of an album.

Jacques Callot (1592-1635). "The temptation of Saint Anthony". Etching engraving. 1635. Museum of Fine Arts of the City of Paris, Petit Palais. Dragon, etching, saint, engraving

Bacchanal 1615-42 Pierre Brebiette French. Bacchanal 333905

Fable of the Sater and the farmer who blows in his soup and in his hands. The Fable of the Sater and the farmer blowing in his soup and in his hands. On the left, the farmer blows on his hands to warm them up, he blows in a bowl of soup to cool it.

Card No. 8 (in the central part of the card a composition depicting a Lot and his daughter leaving Sodom and Gomora.) In: Manuel pour l'Inction de la Jeunesse Par Stoy Schleuen, Johann Friedrich (1739 1784), Chodowiecki, Gottfried (1728 1781)

TheEntombment. After: Andrea Mantegna, Italian, ca. 1431-1506

Card No. 16. (In the middle of a composition depicting a crowd collected in front of Mount Tabor) in: Manuel pour l'arstruction de la Jeunesse Par Stoy Schellenberg, Johann Rudolf (1740 1806)

Suit of Smyrna, 1726; Smyrne; Les Forces de l'Europe, Asie, Afrique et Amerique (...) Comme Aussi Les Cartes des Côtes de France et d'Espagne. Man and woman from Smyrna with typering costume for the city. In the background a face on the city. Plate No. 467 in part XIX of the picture: Les Forces de l'Europe, Asia, Afrique et amic ... Comme Aussi Les Cartes des Côtes de France et d'Espagne from 1726, this second part with 271 by hand Numbered Plates of renowned strong cities and fortresses in the context of the Spanish Succession War 1701-1713. For most part, these plates have been copied to the anonymous French plates of renowned strong cities and fortresses: in Les Forces de l'Europe and in: Le Theater de la Guerre, Dans Les Pays-Bas, both originally published by Nicolas de Fer in Paris (1693-1697) In the context of the nine-year war.

Story with representations of murder and death penalty (F. 55.), Abraham Dircksz. Santvoort, 1667 print Story in eight scenes with some performances of murder and death penalty. Among other things, a man who is about to kill a woman in bed with a sword, a few fighting people, a man on a gallows, a broken woman and two people on a stake. At the top left: F. 55. print maker: Netherlandspublisher: Amsterdam paper etching death penalty, execution. murder. fighting

History of Jason and Medea. Giulio di Antonio Bonasone (Italy, Bologna, circa 1498-1580). Italy, circa 1565. Prints; etchings. Etching and engraving

William II, King of England, deadly hit by an arrow during the hunt, Jan Luyken, 1696 print William II, king of England, by the knight Walter Tyrrell during the yacht, fatally hit by an arrow. Up and below this central performance are various scenes from English Royal History. From left to right and from top to bottom: Henry II on his deathbed; Richard II killed in prison; Eduard II of his crown robbed; Charles II hides in a hollow tree; Jacobus II escapes England by rowing boat. Amsterdam paper etching violent death by arrow(s). hunting, chase

Historical allegory with George II August, Jan Wandelaar, 1702 - 1759 print George II August, king of Great Britain, amidst allegorical figures. He is crowned by justice (Justitia). The personification of strength (Fortitudo), with a pillar under the arm, receives a commandosta from him with a pigeon. Fame in the air, she blows on the trumpet on which a flag hangs on which a monogram is depicted. On either side of the scene, on pillars, medallions in which important political events from the life of the prince are shown. North Netherlands paper etching / engraving Justice, 'Justitia'; 'Divine Giustitia' (Ripa) ~ One of the Four Cardinal Virtues. Fortitude, 'Fortitudo' ~ One of the Four Cardinal Virtues. Hunger; 'Fama', 'Good fame', 'Chiara fame' (Ripa)

Twelve images from The Beginning, Middle and End of Man, print maker: Jan Luyken, publisher: weduwe Pieter Arentsz (II), publisher: Cornelis van der Sys, Amsterdam, 1712, paper, etching, h 291 mm × w 342 mm

First pretext: De Nieuwe Akker, Dirck Volckertsz. Coornhert, after Maarten van Heemskerck, 1646 print A servant of the king comes to the first guest and invites him to the wedding party. The guest apologizes with the excuse that he has just bought a new field, which he must first look at. Under the show a reference in Latin to the Bible text in Luc. 14. This print is part of an album. paper engraving those that are invited to the royal wedding-feast excuse themselves

Print, Europe, before 1896, Print

Val is Phaëthon, 1728 The ride of Phaëthon in the solar car of his father Apollo will be a disastrous trip. The horses have set the earth on fire. River beds will be dry and river nymphs complain their destiny. Neptunus with trident comes up from the sea and stretches his arm to heaven. Mother Earth, displayed as a cybele as Cybele, sticks her head out of the earth and protects her gaze with one hand. Atlas is struggling to show the heavenly vault. Jupiter throws lightning bolts and Phaëthon falls by car and all from heaven. Two times two verses in Latin under the performance. The print is part of an album. print maker: Haarlemafter design by: Haarlempublisher: Amsterdam paper engraving The ride of Phaëthon in the solar car of his father Apollo will be a disastrous trip. The horses have set the earth on fire. River beds will be dry and river nymphs complain their destiny. Neptunus with trident comes up from the sea and stretches his arm to heaven. Mother Earth, displayed as a cybele as

Neptunus in his chariot, Richard de Saint-Non, after Jean Honoré Fragonard, After Pietro da Cortona, 1771 print paper etching (story of) Neptune (Poseidon). the story of Aeneas' wanderings to Italy (Virgil, Aeneid)

Daniel is liberated from the lion's pit; History of Daniel, bell and the dragon; Thesaurus Sacrarum HistoriaRu M Veteris Testame N Ti, Elega N Tissimis Imaginibus Expressu M Excelle N Tissimoru M in Hac Arte Viroru M Opera: now N C Primu M Luce M Editus. King Cyrus finds Daniel in the lion's owl after seven days and let him get up with ropes. Under the show an explanatory text in Latin. Print is part of an album.

Wildezwijnenjacht (2 plates), Pieter Claesz. Soutman, after Peter Paul Rubens, 1642 print From his prancing horse, a rider sticks a wild boar with his sword. Men with spears put the beast in his mouth. A fallen man lies on the floor in front of the boar. A large junk of dogs also plunge into the boar. Another man with a spear climbs on a tree stump. A farmer's man blows on a hunting horn. Large show consisting of two parts. At the bottom of the margin a verse in Latin over hunting. Haarlem paper etching / engraving boar-hunting. blowing the hunting horn. hunted animal attacking man

Daphne changes into a laurel tree; Ovidius' metamorphoses; Reflections by P. Ovidius Naso. When the NiMF Daphne was haunted by Apollo, who had fallen in love with her, she begged her father and river god Peneus to help. This made his daughter emerged to her attacker by turning her into a laurel tree. The moment Apollo wants to grab her, the arms of Daphne change in browsing branches. In the background on the right the scene preceding this story. Apollo creates over killing the Python and insults cupdio. This affects him from revenge with his arrow and let him fall in love with Daphne. Under the show twice two fresh rules in Latin. The print is part of an album.

Seven pests, Anonymous, Virgilius Solis, 1565 - 1612 print Angels cast scales that cause pests. In the foreground the sixth plague: a dragon that breaks frogs. Nuremberg paper the seven angels with the seven vials, bringing disasters and destruction upon the earth and mankind

Copper engraving by Johann Sadeler the Elder (1570-1600) showing scenes from the story of Moses, including human figures, gestures, clothing, and architectural details in 16th-century Europe.

Punishment of the servants of Penelope, Theodoor van Thulden, After Francesco Primaticcio, After Nicolò Dell'abate, 1633 Odysseus, who killed Penelope's vovers, instructs his nurse Eurykleia to bring all unfaithful employees of Penelope together. The print is part of an album. Paris paper etching / engraving / letterpress printing Odysseus, who killed Penelope's vovers, instructs his nurse Eurykleia to bring all unfaithful employees of Penelope together. The print is part of an album. Paris paper etching / engraving / letterpress printing

Mythological Playing Cards. Dated: 1644. Medium: 12 etchings on one sheet. Museum: National Gallery of Art, Washington DC. Author: STEFANO DELLA BELLA.

Luna, the moon, and her children; Of the seven planets and haer firm; The seven planets; Den Grooten Figuer Bibel (...). Luna, the moon, with a hunting horn in hand, is in a car, continuing to heaven by two girls. The sign of the lobster gives to whom belong to the sphere of influence of the moon. The people who were born under this zodiac sign all do something with water. Fishermen are working and someone is swimming in the foreground. In the background ships sail through sailors. At the bottom of the margin a text in Latin about the children of Luna. This print is part of an album.

Copper engraving and etching by Philipp Galle, 1550-1612, depicting a bacchanal of children, showing playful figures and classical motifs in late 16th-early 17th-century style.

Antique Warriors and Mythological Subjects Artist's working dates 1691-1749 Italy. Pen and brown ink, with traces of graphite, on 13 sheets of paper laid down on pink tinted laid paper . Donato Creti

Print; 1896-31-55

Triumph car from Kallo; Entry of Ferdinand in Antwerp in 1635 (no. 43) (Virtual Object), 1639 - 1641 print The triumphal wagon of Kallo built to celebrate the victory of the Spanish army over the State Army at Fort Kallo on June 21, 1638 and used in the annual Ommegang. Entire performance printed on two magazines. At the top left a hanging rug with a representation of the battle and a portrait of Ferdinand. Under and right the cart with the large weapon trophy with banners, the female allegorical figures and fascinated prisoners. Marked at the top right: p. 174. Page no. 43 In a whole of 43 plates that illustrate the publication of the description of the entry of the Cardinal Infant Ferdinand of Austria in Antwerp on April 17, 1635 as the new governor for the Spanish Netherlands. Virtual object consisting of two photographs to each other. Southern Netherlands paper etching / engraving float ~ triumph. Roman chariot, quadriga ~ triumph. battle (+ land forces) Antwerp. Fort Kallo

Sketchbook Page: Six Scenes; Verso: Five Studies of Horse Heads; Head of Lion, Felice Giani, Italian, 1758-1823, Pen and brown ink, brush with brown wash over traces of graphite on cream laid paper, Triumph of Bacchus and Arianna; Madonna with female figure; Madonna and infant with St. Anna, St. Elizabeth; Bacchic representation; Sacred Family with St. John. Verso: five studies of horse heads; lion head., Italy, 1811-14, graphic design, Drawing, Drawing

Westerlo Castle conquered by Mansfeld, 1583, 1587 - c. 1591 print The Westerlo castle near Breda shot at the Army of the Count of Mansfeld, 5 June 1583. With caption of 12 lines in German and 6 lines in French. Nummered in the bottom left: 189. The print is part of an album. Cologne paper etching Victory, position was Westerlo

Bas-relief with a bacchanal; Galleria Giustiniana del Marchese Vincenzo Giustiniani II. Bas-relief with bacchanal. In the middle of the relief The coat of arms of Vincenzo Giustiniani. Print is part of an album with a series of prints to the sculptures in the collection in the Galleria Giustiniani in Rome.

Story with representations of murder and death penalty (F. 29.), Abraham Dircksz. Santvoort, 1667 print Story in eight scenes with some performances of murder and death penalty. Among other things, a man who kills someone with a sword, a man who is drowned in a well, two men at a gallows and a man on a stake. At the top left: F. 29. print maker: Netherlandspublisher: Amsterdam paper etching death penalty, execution. murder. fighting

Frieze with Hunting Children, Charcoal, pen and ink, brush and watercolor on paper, Horizontal rectangle with ten children baiting a bear cub. At right, one rides a horse., Italy, 1600-1625, classicism, Drawing, Drawing

David Dijoofdt goliat; History of David and Saul; Thesaurus Sacrarum HistoriaRu M Veteris Testame N Ti, Elega N Tissimis Imaginibus Expressu M Excelle N Tissimoru M in Hac Arte Viroru M Opera: now N C Primu M Luce M Editus. Goliat is on the floor. David stands on his chest with one foot and raises the sword from Goliat above his head, ready to behead him. On the left flight the Philistines for the Soldiers of Saul. Under the show a reference in Latin to the Bible text in 1 Sam. 17. This print is part of an album.

A New Speaker and The Wedding Night. Artist: Thomas Rowlandson (British, London 1757-1827 London). Dimensions: Sheet: 14 1/2 × 10 11/16 in. (36.9 × 27.1 cm)Plate: 13 7/8 × 9 13/16 in. (35.3 × 25 cm). Publisher: William Holland (British, 1757-1815). Date: February 7, 1789. Museum: Metropolitan Museum of Art, New York, USA.

Honor and freedom; Attributes of the soul; Attributi Dell'Anima. Two representations of personifications. Left: honor (honor) as a woman with the cornucopia (cornucopia). Right: freedom (libertas) as a woman with a hat and a scepter. Both shows with two Italian fresh rules in the sub-margin.

Four scenes from the Trojan War. Above a large representation of the Trojan women who offer the image of Minerva de Peplos. Among three smaller scenes from the Trojan War.

Ariosto brought to sentences again, Daniel Nikolaus Chodowiecki, 1771 print Canto thirty -nine from 'Ariosto Furioso'. Five knights keep Ariosto under control that is tied up on an inverted boat. Astolfus keeps Ariosto a bottle under his nose in which his mind is kept. As soon as he has sniffed the content, he comes to my mind again. Numbered in the bottom left: 11. paper etching (scenes from) specific works of literature: Ariosto, Orlando Furioso

Four oversized ovals with Putti on sea status; Das Neuw Grottesken Buch Nürnberg 1610; Leaf of the "Neu Grotesken Buch" 1610. Above left a putto on a sea horse, with a helmet, at the top right of a putto with arrow and bow, left below a putto with a torch and at the bottom right of a horn blinking putto with a branch in his hand. Leaf from a series of flat decorations with grotesken, cartouches, ovals, mascarons, putti and fantastic beings. The series consists of three title sheets, two text sheets with the assignment and the preface and 60 sheets, spread over three books.

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