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| Hans von Aachen Allegory of Peace, Fertility and Science 1601 wash drawing Museum Kunstpalast, Düsseldorf |
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| Hans von Aachen Augustus and the Tiburtine Sibyl ca. 1580-85 drawing Los Angeles County Museum of Art |
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| Hans von Aachen Hercules slaying the Vices before 1615 drawing Kunstsammlung der Universität, Göttingen |
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| Hans von Aachen Tobias and the Angel before 1615 drawing Metropolitan Museum of Art, New York |
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| Hans von Aachen Salomé with the Head of John the Baptist ca. 1605-1610 drawing Art Institute of Chicago |
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| Hans von Aachen Allegory of Oppressed Flanders before 1615 drawing Herzog Anton Ulrich Museum, Braunschweig |
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| Hans von Aachen Ecce Homo ca. 1590-1600 drawing Metropolitan Museum of Art, New York |
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| Hans von Aachen The Crucifixion ca. 1587 drawing Getty Museum, Los Angeles |
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| Hans von Aachen Design for Surround of Aegidius Sadeler's print with Effigy of Emperor Rudolf II 1603 drawing National Library of Poland, Warsaw |
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| Hans von Aachen Virgin and Child enthroned with St John the Evangelist and St John the Baptist 1589 drawing National Gallery of Art, Washington DC |
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| Hans von Aachen Raising of the Widow's Son at Nain ca. 1600 oil on canvas Seitenstetten Abbey, Austria |
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| Hans von Aachen after Pomarancio Stoning of Stephen ca. 1600 oil on canvas Church of St Stephen, Kraków, Poland |
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| attributed to Étienne de La Hyre Art Collection of Prince Władysław Vasa 1626 oil on panel Royal Castle, Warsaw |
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| attributed to Étienne de La Hyre Art Collection of Prince Władysław Vasa (detail) 1626 oil on panel Royal Castle, Warsaw |
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| attributed to Étienne de La Hyre Art Collection of Prince Władysław Vasa (detail) 1626 oil on panel Royal Castle, Warsaw |
The final three images, directly above, represent an archetypal genre of 17th-century painting – a tabletop view of one corner of a collector's "cabinet" – with art objects and natural history specimens mingled in a seeming scholarly and connoisseur-like disarray. This particular painting, attributed to Étienne de La Hyre (1583-1643) and commissioned by a Polish prince, features on open sketchbook at lower left. It can be identified as an actual artifact from the hand of Hans von Aachen, who had been dead just over ten years at the time La Hyre reproduced one of its openings.