Architectural and Sculptural Designs

Drawings and photographs of architectural designs and sculptures, reflecting Gothic revival influences and historical artistry.

Photo production of a painting by Rafaël (Coll. Vatican Museums), Adolphe Braun & Cie., 1880 - 1900 photograph paper. photographic support. cardboard carbon print

Photo production of a painting by Rafaël (Coll. Vatican Museums), Adolphe Braun & Cie., 1880 - 1900 photograph paper. photographic support. cardboard carbon print

Eosander von Göthe Johann Friedrich (1669-1728), Berlin city palace. Picture gallery, cornice group »Asia« (1890): south side of the cornice group on the four world parts. Photo on cardboard, 28.4 x 35.5 cm (including scan edges)

Card 18 Before Herod, with: album with drawings depicting reliefs from the chapel of Kalwaria Ujazdowska unknown

Design for sculpture Passion, 1877. Butterfield, William 1877 A broadly representative selection of drawings for building and manufacture of designs, representing the various types of commissions Butterfield received and illustrating his work in promoting Gothic Revival. Also included are estimates as well as record drawings (measured drawings) of buildings not designed by Butterfield. William Butterfield (1814-1900) was a British architect known for the Gothic revival style he championed. He studied with E. L. Blackburne and set up his own practice in 1840. A member of the Cambridge Camden Society, later the Ecclesiastical Society, he contributed designs to their journal The Ecclesiologist. Most of his work was for church designs, apart from that for schools and colleges (Rugby School and Keble College Oxford), and the Winchester County Hospital. Perhaps his best-known building is the All Saints Church, Margaret Street, London (1849-1859). The Royal Institute of British Architects awa

Monument project for the Place de la Concorde Carlo Luca Pozzi (1734-1812). Monument Project for the Place de la Concorde. Watercolor in Camaïeu, Lavis.

Design for a tomb. Artist: Pieter Verbruggen the Younger (Flemish, Antwerp 1648-1691 Antwerp). Dimensions: sheet: 8 1/16 x 6 1/2 in. (20.5 x 16.5 cm). Former Attribution: Formerly attributed to Anonymous, Flemish, 17th century; Formerly attributed to Michiel van der Voort (Flemish, 1667-1737) (). Date: late 17th-early 18th century. Museum: Metropolitan Museum of Art, New York, USA.

Symphonie. Kunstverein in München (Monachium ; towarzystwo ; fl. 1815-1914), merchant employer, Wick, Wendelin (Monachium ; drukarnia ; fl. ca 1842-1860), printing house, Thaeter, Julius Cäsar (1804-1870), graphic artist, Schwind, Moritz von (1804-1871), painter

Medallion/ convex skeleton prudence (La Prudence). (according to Jacques Sarazin) Sarazin, Normand, Charles (1765 1840)

Albert Joseph Moore, 1841-1893, British, Study for Battledove and Shuttlecock, ca. 1871. Black chalk, white chalk, and graphite on medium, moderately textured, brown wove paper.

Fountain Supported by Three Harpies and Three Groups of People in Garden in Villa Albani, Rome, Felice Giani, Italian, 1758-1823, Black chalk on off white wove paper, Large fountain with two bowls, lower basin supported by central post and three winged Harpies. Three groups of people nearby on platform., Italy, 1780-1820, figures, Drawing, Drawing, Fountain Supported by Three Harpies and Three Groups of People in Garden in Villa Albani, Rome, Felice Giani, Italian, 1758-1823, Black chalk on off white wove paper, Large fountain with two bowls, lower basin supported by central post and three winged Harpies. Three groups of people nearby on platform., Italy, 1780-1820, figures, Drawing, Drawing

Technical collotype by Moritz von Schwind depicting scenes from the fairy tale of the seven ravens, showing figures, birds, and landscape elements, 1857-1871.

Three putti, Jacob de Wit, 1705 - 1754 drawing paper. ink pen Cupids: 'Amores', 'Amoretti', 'Putti'

Drawing, Sepulchral Monument of Poet Giovanni Battista Marini; Architect: Giuseppe Barberi (Italian, 1746-1809); Italy; pen and brown ink, brush and brown wash, graphite on beige laid paper; Image: 21.7 x 20.4 cm (8 9/16 x 8 1/16 in.)

The , moments of the soul size , a monument of gratitude, Poem and illustration on the ascent of the throne of Franz Joseph I on December , Ferdinand I crowns Franz Joseph, Radetzky, Windischgrätz and Jelačić, Scheffler, Lithographer, Joseph Weyl -, Auteur, Klopf Senior, Printer, Alexander Eurich, Printer

Lorenzetti, Ambrogio.

Lorenz Froelich (1820-1908), Omslag Til "L'Amour and Psyche", 1862

Alfred Nossig (1864-1943), `Król Salomon` Solomon the King photograph of sculpture exhibited at the art salon of E. Schulte in Berlin in 1898. unknown, photographer

Civital Matteo di Giovanni (1436-1501), S. Martin in Lucca. Altar (Ohne dot.): Altar des St. Foto Auf Karton, 39,1 x 24,6 cm (incl. ScanRänder). You're architekturmuseum im. Nr. F 0835.

Design for ceiling decoration. Pen and brown ink, brush and brown wash on lined off-white laid paper. Date: 1746-1809. Museum: Cooper Hewitt, Smithsonian Design Museum.

Doorway, Loggia, Ground Floor, Villa Albani, Rome, Italy, Carlo Marchionni, Italian, 1702-1786, Graphite, pen and sepia ink, brush and gray watercolor on brown-gray paper, The door case has laterally fluted pillars, tapered towards the base. Above the entablature are capitals with a mask in front, supporting the oblique cornices of a triangular pediment. In the center is a lunette with a railing, including a star. A man walks at left towards the door, in which another awaits him, with his dog standing beside him. Behind him are a boy, a man, two women, a dog, and a tree., Italy, ca. 1780, architecture, Drawing, Drawing

Małgorzata modli się w wirydarzu klasztornym przed Matką Boską Bolesną. Ruscheweyh, Ferdinand (1785-1846), graphic artist, Cornelius, Peter von (1783-1867), draughtsman, cartoonist, Wenner, Johann Friedrich (1772-1835), publisher

Allegorische figuren, anonymous, after Francesco Fontebasso, in or after 1717 print Six male and female figures and a putto. Some figures have a fleur-de-lis in hand. The show is caught in a frame with, among other things, putti and musical instruments Italy paper engraving musical instruments; group of musical instruments. cupids: 'amores', 'amoretti', 'putti'. fleur-de-lis ~ ornament

Drawing for a Memorial Tablet: Two Winged Children Holding an Empty Oval in a Frame with Gryphons n.d. Follower of Federico Zuccaro (Zuccari) Italian. Drawing for a Memorial Tablet: Two Winged Children Holding an Empty Oval in a Frame with Gryphons 345753

Card 7 Exit from the Upper Room, with: album with drawings depicting reliefs from the chapel of Kalwaria Ujazdowska unknown

Tribonian Presents Pandects to Emperor Julian, after Perino del Vaga; Sketch of Trophy, Felice Giani, Italian, 1758-1823, Perino del Vaga, Italian, 1501 - 1547, Pen and dark brown ink, brush and sepia wash on off white laid paper, At left, a seated man in antique Roman dress hands an object to a kneeling man. Around them are several other men and above them a coffered ceiling. At right, half a design for a trophy., Italy, ca. 1820, figures, Drawing, Drawing

Bliżej Kultury Wyczółkowski, Leon (1852 1936)

Portrait of Maria Magdalena Kress von Kessenstein with allegory on her death, Johann Adam Schweickart, after Johann Eberhard Ihle, 1764 - 1787 print paper engraving / etching historical persons - BB - woman. armorial bearing, heraldry. apotheosis of a ruler - BB - female ruler

Thomas Stothard, 1755-1834, British, Untitled, undated. Brown wash, brown ink and graphite on medium, slightly textured, blued white laid paper.

Tribute to the second legislature: THIRD BAS-RELIEF J. B. Lucien. "Tribute to the second legislature: third bas-relief - we do not fear, sulballernes, tyrants, you who oppose us under a hundred different names".

Lazio Roma Bracciano S. Lorenzo2. Hutzel, Max 1960-1990 Medieval: Architecture. Post-medieval: Architecture, architectural sculpture, painting, sculpture. Exterior views of the front facade, and interior views of nave, altar, ceiling, paintings, and statues. Views of first church on this site (now a farmhouse), dating from 12th century. General Notes: Two medieval architectural prints are missing. German-born photographer and scholar Max Hutzel (1911-1988) photographed in Italy from the early 1960s until his death. The result of this project, referred to by Hutzel as Foto Arte Minore, is thorough documentation of art historical development in Italy up to the 18th century, including objects of the Etruscans and the Romans, as well as early Medieval, Romanesque, Gothic, Renaissance and Baroque monuments. Images are organized by geographic region in Italy, then by province, city, site complex and monument.

Design for "The Three Captains Memorial". Artist: Joseph Nollekens (British, London 1737-1823 London). Dimensions: Sheet: 31 11/16 × 26 in. (80.5 × 66 cm). Sitter: Captain William Bayne (British, 1730-1782); Lord Robert Manners (British, 1758-1782); Captain William Blair (British, 1741-1782). Date: ca. 1784.A leading neoclassical sculptor, Nollekens was commissioned to design an important marble monument in Westminster Abbey to commemorate British naval valor in the recent Anglo-French war. Begun around 1784, and finally erected in 1793, the related 25 foot high monument remains on view in the north transept. It commemorates William Bayne, William Blair and Lord Robert Manners, three captains of the Royal Navy all killed during the Battle of Les Saintes in the West Indies, a four day conflict in 1782 known to the French as the Bataille de la Dominique. Relief portraits appear on a central column with the officers' names and ages inscribed, and the design is embelished with allegories

Pencil sketch by Emerich Alexius Swoboda of a monument, possibly Lanner-Strauss, showing structural and decorative details

The Mystic Marriage of Saint Catherine of Alexandria 1551-1629 Avanzino Nucci Italian. The Mystic Marriage of Saint Catherine of Alexandria 340861

Graf monument for the Lord of Schaffelaar in the church in Barneveld, Jurriaan Andriessen, c. 1752 - c. 1819 drawing Design for a possibly a grave monument. paper. graphite (mineral). ink pen grave-building, monumental tomb. historical persons Barneveld

Photo production of the Fresco Sibille of Erythrae by Michelangelo in the Sixtine Chapel in Vatican City, Anonymous, After Michelangelo, 1851 - 1900 photograph Vatican CITY paper. cardboard albumen print picture, painting Sixtine Chapel (Vatican)

Sacred to Washington, Ebenezer Clough, Block printed on handmade paper, Pillar and arch design featuring monument to George Washington. Rounded arch flanked by Corinthian columns supporting ornate architrave. In opening, a fenced-in altar with inscription 'Sacred to Washington', surmounted by urn and eagle, and flanked by mourning figures of Liberty and Justice. In front, trophies of war including arms, drum and flags. Printed in grisaille on originally blue, now gray ground., Boston, Massachusetts, USA, ca. 1800, Wallcoverings, Sidewall, Sidewall

Design for a Decorative Panel, Giuseppe Barberi, Italian, 1746-1809, Pen and brown ink, brush and brown wash on off-white laid paper, lined, Decoration of a panel with rinceaux, fowl, and mythological figures., Rome, Italy, 1746-1809, architecture, Drawing, Drawing

Vignette with putto, writing in study, Abraham Delfos, c. 1741 - c. 1820, Design for a print., draughtsman: Abraham Delfos, c. 1741 - c. 1820, paper, pen, brush, h 79 mm × w 99 mm

Emperor Tiberius masturbating while performing oral sex on Mallonia. Tibere et Mallonie. Copperplate engraving from Pierre-Francois d'Hancarvilles Monumens de la Vie Privee des Douze Cesars, Chez Sabellus, Capri (Monuments of the Private Lives of 12 Caesars, Leclerc, Nancy) 1780. From imaginary Spintria, medals and cameos.

Drawing, Sepulchral Monument for Leonida Spada; Felice Giani (Italian, 1758-1823); Italy; pen and brown ink, brown wash, graphite on white laid paper; 19 x 25.4cm (7 1/2 x 10in.)

'Fragment of a Pavilion with a caryatid and a Vase'. Erroneously attribured to Gilles-Marie Oppenord. France, 18th century. Dimensions: 30,7x19,9 cm. Museum: State Hermitage, St. Petersburg. Author: Unknown French artist. 18th century.

François Boucher, Design for a Funeral Monument, c 1767 Design for a Funeral Monument

Draft for a coat of arms by Nikolaus Gottfried Stuber depicting Saint George fighting a dragon, executed with ink and brush, laved technique, circa 1735-1740.

Drawing (Italy); Felice Giani (Italian, 1758-1823)

Campania Caserta Capua Museo Campano68. Hutzel, Max 1960-1990 Medieval: Byzantine architectural fragments; parchment fragments with miniatures (12th century) from Montecassino; painted wooden crucifix (13th century); Carolingian crucifixes; Bishop's miter (11th century) of gold and silver damask; fresco (13th century). Post-medieval: Architecture (15th century). Formerly the Palazzo Antignano. Unusual Catalan/Moorish-style portal; Paintings on panel and canvas (15th-18th centuries); marble intarsia (16th century); marble sculpture: busts of Christ and Mary (17th century); sculpture of saints in marble and in wood (15th century); painted and gilded sculpture in wood; marble grave sculpture (16th century); sarcophagus with allegorical carvings; gold reliquary "Rosa d'Oro"; crucifix made of elephant tusk Specific Location: Pianterreno Antiquities: Italic sculpture (seated women holding babies); inscription. Photo campaign #1: 533 photos. Roman relief and sculpture; cinerary urns; Greek an

Design for a grave monument, Frans Decker, c. 1694 - c. 1751, draughtsman: Frans Decker, c. 1694 - c. 1751, paper, pen, brush, h 350 mm × w 274 mm

Three monuments; 33rd Cahier II Cahier de Poëles, Piedestaux, Athéniennes et Frises; Iie Volume de l'oeuvre de J. Ch. Delafosse (...). On the left a monument with two sphinxes and a medallion. In the middle a monument with putti, a vase and a bacchus bustle. On the right a monument with medallion and ramskoppen.

Conceptual sketch of a monument of Mickiewicz for Krakow. Czachórski, Władysław (1850-1911), draughtsman, cartoonist

Roof Van GanyMedes, Carlo Cesio, After Annibale Carracci, 1656 print A painting, with a representation of the roof of Ganymedes, above a door portal. The painting is flanked on either side by a sculpture of a sater. print maker: Romeafter drawing by: Romeafter design by: Italypublisher: RomeVaticaanstad paper etching the rape of Ganymede: he is carried off through the air by Jupiter in the form of an eagle, or by the eagle of Jupiter. satyr(s) (in general)

Designs for two console tables. Pen and brown ink, brush and brown wash on off-white laid paper. Date: 1746-1809. Museum: Cooper Hewitt, Smithsonian Design Museum.

Thalia (comedy, pastoral poetry) (from the Tarocchi series D: Apollo and the Muses, #16), before 1467. Master of the E-Series Tarocchi (Italian, 15th century). Engraving hand-colored with gold;

E Guersant after Jean Honoré Fragonard, La chemise enlevee, 1782 La chemise enlevee

Frieze with Consoles, Putti, and Garlands (Recto); Fragment of Architectural design (Verso) 17th century Anonymous, Italian, 17th century Italian. Frieze with Consoles, Putti, and Garlands (Recto); Fragment of Architectural design (Verso) 389374

Below is a variation of 1938-88-1302. A circular pedestal bears the inscription, whose beginning is carelessly written. Above it stands an angular base, with the central part of the front projecting. It is decorated with a festoon and upon it sits a variation of the figure in 1938-88-1307, with a cross isntead of the chalice, and with a putto kneeling beside the leg with the medallion. Behind rises a huge round shaft, with an entablature and a triangular cresting. On top is a motif similar to 1938-88-1307. Date: 1793. Pen and brown ink, brush and brown wash on lined off-white laid paper. Museum: Cooper Hewitt, Smithsonian Design Museum.

Ornamental vases and medallion with putti, 1777 print Leaf with three numbered performances among each other. XXX: an ornamental vase between two griffins. XXXI: Oval medallion with a group of putti, between arabesken. XXXII: Ornamented vase between grotesken. Italy paper etching foliage ~ ornament. ornaments ~ art. vase ~ ornament

Photo production of Fresco Il Quattro Sibille by Rafaël in the Santa Maria della Pace in Rome, James Anderson, After Rafaël, c. 1857 - c. 1875 photograph This photo is part of an album. Santa Maria della Pace paper albumen print picture, painting. interior of church Santa Maria della Pace

Adoration of the Shepherds 16th century Anonymous, Italian, 16th century Italian. Adoration of the Shepherds 341816

Joaquín Torres García / Bocetos de los frescos del Salón de Sant Jordi. Palau de la Generalitat de Barcelona, 1913-1914.

Psyche punished by smart and pain, master of the dice, after Michiel Coxie (i), c. 1530 - c. 1560 print The personifications of smart and pain punish Psyche on behalf of the goddess Venus. Venus sits on the right on a chair and watches. Italy paper engraving other scenes from the story of Cupid and Psyche. Pain, Sorrow, Sadness; 'Dolore', 'Dolore di Zeusi' (Ripa)

Personification of Venice, Robert van Audenaerd, 1673 - 1743 print A console with the female personification of Venice, with a small doe hat and flanked by the winged lion of Sint Marcus. On the right a unicorn. In addition, twice the coat of arms of the Venetian family Barbarigo. A cardinal hat above the left coat of arms. A crown above the right. The print is part of an album. paper engraving lion (possibly with book) ~ symbol of St. Mark. unicorn. insignia of cardinal, e.g. hat, mantle. armorial bearing, heraldry. sitting figure - AA - female human figure

Artist: Edwin Austin Abbey, American, 1852-1911, M.A., 1897, Sketch of twocapitals, Black chalk, Blue laid, 44.8 × 32 cm (17 5/8 × 12 5/8in.), Made in United States, American, 19thcentury, Works on Paper - Drawings andWatercolors

Coronation of a soldier (in box with 43 drawings), Louis Fabritius Dubourg, 1703 - 1775 drawing paper. ink pen / brush

Letter above, flanked by intertwining rinceau. A Turk in rich attire is seen seated in a loggia smoking a hookah. Date: ca. 1830. Graphite, pen and bistre ink, brush and ink wash, with white heightening on cream paper. Museum: Cooper Hewitt, Smithsonian Design Museum.

Sir Robert Smirke the younger, 1781-1867, British, Sketch of a Carved Female Figure on Top of a Gravestone, 1802-1804. Brown wash and graphite on thin, slightly textured, beige, wove paper.

Sidewall. Date/Period: 1930-40. Sidewall. Machine-printed on paper. Height: 1,190 mm (46.85 in); Width: 560 mm (22.04 in). Author: UNKNOWN.

Portfolio with drawings and prints of tombs and epitaphs 17th century Anonymous, Flemish Flemish Portfolio containing drawings and prints recording designs for funerary monuments and altars. While part of the drawings are sewn together in a quire, the group as a whole seems to have been compiled at a later date.. Portfolio with drawings and prints of tombs and epitaphs 679420

Milan, Vallardi, Pietro & Giuseppe, Italy, Roccheggiani, Lorenzo, Ruga, Pietro, Invenzioni diverse di mobili ed utensili sacri e profani per usi comuni della vita, Invenzioni diverse di mobili ed utensili sacri e profani, Designs for religious and profane objects, Two tables, a bed and a bench, Print is part of an album., print, picture, album sheet, ornamental print, prints, height 169 mm, width 217 mm, Italian, print maker, printmaker, 1817 - 1817, second quarter 19th century, third quarter 19th century, fourth quarter 19th century, paper, etching, etchings, intermediary draughtsman, after a drawing by, Publication (Event), Publication, publisher

Pencil draft by Karl Rahl the Younger depicting two national coats of arms for the Fame Hall of the Arms Museum in the Arsenal, executed 1853-1854.

Bliżej Kultury Lithographic plant: Sabiński Jan

Coat of arms of the Petershausen (recto) monastery; Madonna's image with the Child (Verso); T.V.B. (graphic designer; fl. Ca 1550); around 1550 (recto); approx. 1600 (Verso) (1530-00-00-1580-00-00);

Two angels or putti kneel upon moldings; the left one raises a chalice, the right one a sixteen-pointed star. Between them and behind the right angel is an enormous book, upon which the latter leans his right hand. It is probably the apocalyptic book closed by seven seals. Beside are garlands. Colored background. Pen and brown ink, brush and brown wash on off-white laid paper, lined. Date: 1780-1790. Museum: Cooper Hewitt, Smithsonian Design Museum.

Design for a wooden cradle on two swingpotes.Crib with a representation of a nymph and a satater.

Drawing, Elevation of a Wall Panel with a Fireplace; France; pen and ink, graphite on paper; 30.8 × 14.5 cm (12 1/8 × 5 11/16 in.)

Design for a Cartouche with a Religious Subject in the Central Compartment. Artist: Attributed to Taddeo Zuccaro (Italian, Sant'Angelo in Vado 1529-1566 Rome); or attributed to Federico Zuccaro (Zuccari) (Italian, Sant'Angelo in Vado 1540/42-1609 Ancona). Dimensions: 11-3/16 x 5-1/8 in. (28.4 x 13.0 cm). Date: 16th century. Museum: Metropolitan Museum of Art, New York, USA.

First table on the side left side Etienne FESSARD (1714-77). First table on the side left side. Eau-strong pulled in blood.

Sepulchral monument, Giuseppe Barberi, Italian, 1746-1809, Pen and brown ink, brush and brown wash on paper, Probably for the young Pretender Charles Edward Stuart, who died in 1788. Steps lead to a platform upon whose corners are oblong pedestals with sitting female figures. Between the pedestals is a woman with sitting female figures. Between the pedestals is a woman shown from the front sitting upon the platform and pointing at the inscription at the sarcophagus which rises behind her. Above it is a circular pedestal with a band above its frieze similar to 1938-88-1263. On top is a huge statue. The background is colored in the shape of an oblong; some framing strokes are at left., Rome, Italy, ca. 1790, architecture, Drawing, Drawing

Wall of a shell cabinet, Gillis van Scheyndel (I), 1622 - 1654 drawing The wall of a shell cabinet, perhaps one that was built behind the lust lock, approx. 1640. Between two rock walls, in which shells are infected, a porch with two shields rises in the middle. Right and left medallions with busts of Prince Willem I and Maurits; Above four lion heads, connected by a cloth draped like garland. In the upper shield a crowned a (auranica). parchment (animal material). ink pen historical persons. collection, exhibition, show. molluscs (+ shell, snail-shell etc.)

Portrait of Gregorio Barbarigo and the personifications of Ethica and Authority, Robert van Audenaerd, 1673 - 1743 print Pedest in the form of a cartouche. Then a medallion with the portrait of Gregorio Barbarigo with cardinal hat on the front. On the back, the pope puts the cardinal hat on the head of Gregorio. The pedestal is flanked by the Personifications Ethica and authority or rule. Ethica has a spirit level and steamed lion. Government has a scepter and fasses in his hands. The print is part of an album. paper engraving symbols, allegories of peace, 'Pax'; 'Pace' (Ripa). beasts of prey, predatory animals: lion. insignia of cardinal, e.g. hat, mantle. Authority, Power; 'Dominio', 'Giurisdittione' (Ripa). Ethics; 'Etica' (Ripa). tools and machines ~ building: water-level

Copper engraving by an unknown engraver from the 17th century depicting Salome with the head of John the Baptist in a narrative biblical scene.

Drawing (France & Italy)

Project for a Ceiling Frieze, Pen and brown ink, brush and brown wash, white heightening on off-white laid paper, Trapezoid. At center is Cupid with an arrow and sword. At right is half of an escutcheon with a dolphin and part of a star. Moldings to the top and bottom., Italy, mid- 17th century, interiors, Drawing, Drawing

The Beneficence of the Law, Design for Mural at Essex County Court House, Newark, New Jersey, Kenyon Cox, American, 1856-1919, Brush and oil, pen and blue ink, graphite on canvas, The figure of Law, with an open book in her lap and a scepter in her left hand, is seated before a curved group of four columns. Peace sits at right with an olive branch, and Justice floats above to the left, holding scales. Below, a half-nude woman gives fruits to cherubs, symbolizing prosperity. Grid for transfer indicated., USA, ca. 1906, mural designs, Drawing, Drawing

Donatello (Donato di Niccolò di Betto Bardi) (1386-1466), S. Croce in Florence. L´ Annunziazione della Virgine (without dat.): View of preaching Cavalcanti, sculpture in the Pietra-Serena stone. Photo, 38.4 x 24.6 cm (including scan edges)

Allegory of Geometry. Artist: Hans Krumpper (German, Weilheim ca. 1570-1643 Munich). Dimensions: sheet: 5 3/8 x 7 11/16 in. (13.7 x 19.5 cm). Date: late 16th- early 17th century. Museum: Metropolitan Museum of Art, New York, USA.

Drawing, Elevation of a Sepulchral Monument; Italy; graphite on paper

Allegorical drawing of a science, executed with lead handle, spring, ink, and brush, lavated with bister, including a transmission network with lead handle and a semi-circular bezel.

2 eme Station. Jesus contre sa tres Sante mere; French; about 1860; Albumen silver print

A bust of the cardinal stands upon a pedestal having the shape of the lower part of a column. It stands in the center of the upper edge of a broad pedestal. The bust is crowned with a wreath by Painting and Sculpture, whereas Mathematics carrying a sphere besides the compass, is seated beside the monument at right. A child with a cornucopia crouches at left. The front of the projecting central part of the lower pedestal is intended for the inscription. An obliquely shown half with an apse forms the backgruond. Pen and brown ink, brush and brown wash on off-white laid paper, lined. Date: October 1796. Museum: Cooper Hewitt, Smithsonian Design Museum.

Diebitsch Carl von (1819-1869), Vatican, Rome. Sculpture (without date): Apoll. Pencil watercolor on the box, 26.8 x 19.7 cm (including scan edges) Diebitsch Carl von (1819-1869): Vatikan, Rom. Skulptur

Les Bas-fonds de la société. Félicien Victor Joseph Rops (Belgium, Namur, 1833-1898). Belgium, no date. Prints; etchings. Etching with red ink

Funeral Monument of Maria Christina of Austria, Pietro Bonato, After Domenico del Friar, After Antonio Canova, 1805 print Grave monument for Maria Christina of Austria by the Italian sculptor Antonio Canova. Italy paper etching / engraving piece of sculpture, reproduction of a piece of sculpture

Man subjects a harpij, 1663 print Leaf with two performances of consoles with naked men, soldiers of Aeneas, sitting on harpijen. The print originally belonged to Liber 22 of the Atlas of Rome by Michiel Hinloopen (Schijnvoet Book 10). paper etching other architectural details (CONSOLE). Harpies (classical mythology). the (nude) human figure; 'Corpo humano' (Ripa)

Agriculture, Trade and Navigation, Julien-Léopold Boilly, After Pierre Prud'Hon, 1855 print Paris paper. 'Navigation' (Ripa). allegory of trade; 'Commission of human life' (Ripa). Personification of Agriculture, 'Agricultura'; 'Agriculture', 'Study of agriculture' (Ripa)

Allegory of Freedom, Johannes van Dregt, 1790

Monumenta Antiquea with an ancient theater; Jueverdo (; French aquaphorist); around 1830 (1825-00-00-1835-00-00);

The Blessed Aloysius Gonzaga in Ecstasy ca. 1629 Anthony van Dyck Flemish. The Blessed Aloysius Gonzaga in Ecstasy 405844

Feather drawing by Lelio Orsi da Novellara depicting a saint statuette, possibly Daria, standing on a plate supported by four hermen, with a laved technique and minor corner damage.

An Elaborate Rococo Setting with the Virgin and Child and Saints Defeating Evil, Heresy, and Profane Love, 1760s, pen and black ink with wash and white heightening on blue prepared laid paper, incised for transfer, overall: 44.1 x 34.2 cm (17 3/8 x 13 7/16 in.), Vitus Felix Rigl (artist) German, c. 1717 - 1779

Drawing of a table. Draughtsman: anonymous. Dating: c. 1650. Place: Switzerland. Measurements: h 155 mm × w 308 mm. Museum: Rijksmuseum, Amsterdam.

A set of pencil sketches by Peter Fendi created on April 16, 1821, showing various figures and compositions.

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