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  • A pack of hounds attacking and running after wild boar. Etching by F. Joullain, 1734 after A. F. Desportes after F. Snyders.
  • The land of Cockaigne: a castle, volcano and ships with people riding horses and boar and others playing musical instruments. Coloured engraving.
  • A man with a spear and a pack of dogs attack a wild boar emerging from the reeds in the swamps. Etching.
  • Various sets of animal tracks in one table, including those of wild boar, wolves, goats, lynx and hares. Etching by J. E. Ridinger.
  • Actors in role: a samurai confronts a Buddhist deity on the back of a giant wild boar. Colour woodcut by Kunisada II, 1860.
  • A huntsman sitting on a tree is about to shoot a lynx that has pounced upon a wild boar. Etching by J.E. Ridinger.
  • A wild boar chafing its neck against a tree while a fox seated on a rock nearby watches on. Etching by W. S. Howitt.
  • A menagerie with a stag at a watering place and foxes, hares, deer and a wild boar in the background. Etching by J.E. Ridinger.
  • Hunting: dogs sniff around as boar are tracked, shot and strung up on horseback, killed by lead bullets. Engraving by Philipps Galle after Jan van der Straet.
  • Above, red-figured Greek drinking horn (rhyton) ending in a boar's head; below, Greek drinking-horn ending in a goat's head. Watercolour by A. Dahlsteen, 176- (?).
  • A wild boar is chased and attacked by a pack of dogs during a hunt in the forest with mounted huntsmen following the dogs. Etching by J. E. Ridinger.
  • A pack of dogs has tracked down a wild boar which in turn succeeded in burying its tusk in the abdomen of one of the dogs. Etching by J.E. Ridinger.
  • A wolf is sitting opposite a sow with its young under a tree while a boar and a wolf are fighting in the background; illustration of a fable by Aesop. Etching.
  • Five wild boar in a gorge in the forest set up as a trap: one is already in the enclosure while four others are following suit. Etching by J.E. Ridinger.
  • A tumultuous hunting scene in which a stag is hunted into the river and speared, and a wild boar is shot while trying to escape from the hounds. Etching by A. Tempesta.
  • A thistle in the centre with a boar to the left facing a mastiff to the right, all surrounded by various plants and insects. Engraving by D. Loggan, 1663, after W. Hollar.
  • Detail of a frieze decorating a Greek black-figured column krater representing a group of naked men with spears and dogs hunting a wild boar; principal scene of the "Hunt krater", made in Corinth ca. 570 B.C.. Watercolour by A. Dahlsteen, 176- (?).
  • Adonis vernalis L. Ranunculaceae. Pheasant's eye, the golden flowered spring (or vernal) Adonis, is named in memory of Adonis, the Greek god of plants, who disappeared into the earth in the winter and reappeared in the spring. The flowers were said to have sprung from his blood when he was gored to death by a wild boar, but this plant must have been the blood red Adonis aestivalis, the summer Adonis. Distribution: Eurasia to Spain and Sweden. Gerard (1633) recommends it for renal stone and intestinal colic. Lewis & Elvin Lewis (2003) note it is poisonous, containing cardiac glycosides (adonitoxin, cymarin, K-strophanthin) and flavonoids. The UK Medicines and Healthcare Products Regulatory Agency (MHRA)) bans its use for ingestion 'no dose permitted' but allow it to be prescribed by a herbal practitioner on a one-to-one consultation. Photographed in the Medicinal Garden of the Royal College of Physicians, London.
  • A hunting dog standing in the dense growth of a forest. Etching by J.E. Ridinger.
  • A cockerel with hens and chicks looking for food outside a pig sty. Engraving by P. Tempest, ca. 1690, after F. Barlow.
  • An apothecary riding a horse that is out of control and knocking over everything in its way. Etching by W.E.G.
  • An apothecary riding a horse that is out of control and knocking over everything in its way. Etching by W.E.G.
  • Varāha raising the earth from the bottom of the ocean and trampling on the demon Hiranyāksha. Gouache drawing.
  • Human physiognomies next to animal physiognomies, showing the relations between certain of the species. Etching, c. 1820, after C. Le Brun.
  • The island of Tongatapu (Tonga), visited by Cook on his second voyage, 1772-1775. Engraving by W. Byrne, 1777, after W. Hodges.
  • Collateral damage.
  • Collateral damage.
  • Collateral damage.
  • Collateral damage.
  • A Wild Ox and a Syrian Ox on a clearing. Coloured chalk lithograph.