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  • An alchemist and his assistant hoping to turn base metal into gold. Aquatint after T. Rowlandson.
  • The adoration of the magi: a king kneels before the infant Jesus, seated on Mary's lap. Engraving by E. Fessard after C.J. Natoire.
  • An alchemist and his assistant hoping to turn base metal into gold. Aquatint after T. Rowlandson.
  • An alchemist making gold. Oil painting by Hendrik Heerschop, 1665.
  • Jesus calls Matthew away from his vocation as a tax collector. Coloured lithograph by F. Hanfstaengl after S. Wiedenbauer after G.A. Pordenone.
  • A young woman, perhaps Prudentia, warns an alchemist of the dangers of abusing fire: in the background fires rage in buildings and mines. Oil painting after Marten de Vos.
  • An alchemist making gold. Oil painting by Hendrik Heerschop, 1665.
  • A coal porter, an alchemist and a rich man who hopes vainly to profit from alchemy. Etching, 18th century.
  • A noblewoman and two noblemen examining some gold produced by an alchemist. Engraving by G. Greatbach after A.H. Tourrier.
  • A nugget of gold from Australia presented to Queen Victoria. Wood engraving, 1853.
  • Christ, with a sword in his mouth, between seven candlesticks; representing a stage in the alchemical process. Coloured etching after etching, 1772/3.
  • A young woman, perhaps Prudentia, warns an alchemist of the dangers of abusing fire: in the background fires rage in buildings and mines. Engraving by C. de Passe after M. de Vos, 16th century.
  • A young woman, perhaps Prudentia, warns an alchemist of the dangers of abusing fire: in the background fires rage in buildings and mines. Engraving by C. de Passe after M. de Vos, 16th century.
  • The infant Jesus grabs at the gold offered to him by the Magi. Engraving by S.A. Bolswert after Sir P.P. Rubens.
  • A prince, clad in gold, succeeds the King; representing a stage in the alchemical process. Watercolour painting by E.A. Ibbs.
  • The sense of touch: below, a bespectacled man examines coins and valuables, above, St Thomas puts his finger into the resurrected Christ's side. Engraving after G. Collaert, 1630, after N. van der Horst.
  • An alchemist holding tongs at his furnace. Etching by J. Wagner after D. Maggiotto.
  • An enthroned king, wearing three crowns and with a sword in his mouth, having vanquished a green seven headed hydra; an archangel with a key imprisons Lucifer in chains by a roaring fire; representing the culmination of the alchemical process and the sublimation of base matter. Coloured etching after an etching, ca. 17th century.
  • The sense of touch: below, a bespectacled man examines coins and valuables, above, St Thomas puts his finger into the resurrected Christ's side. Engraving after G. Collaert, 1630, after N. van der Horst.
  • An alchemist making gold. Oil painting by Hendrik Heerschop, 1665.
  • Two alchemists seeming to produce gold from a furnace; the accompanying text satirises those who pursue alchemy for gold alone. Engraving by C. Weigel, 1698.
  • Indian goldsmiths at work. Gouache drawing.
  • Clocks: a watch factory at Waltham, Massachusetts. Wood engraving by A J H.
  • A selection of vices and pliers. Etching by Bénard after Lucotte.
  • Various gold trinkets, pieces of gold jewelry, gold amulets, stools, gold nuggets and scales for measuring gold. Engraving.
  • A winged, blindfolded woman; representing avarice. Engraving by G. Pencz.
  • The process of gold and silver refining. Engraving, 1747.
  • An alchemist holding tongs at his furnace. Etching by J. Wagner after D. Maggiotto.
  • A coal porter, an alchemist and a rich man who hopes vainly to profit from alchemy. Etching, 18th century.
  • The pregnant Virgin Mary, with a dragon at her feet; representing a stage in the alchemical process. Colour painting after etching, 1772/3.